Quotes about artist
page 21

“Yes. Basically, I can read your photography [of Wolfgang Tillmans, who is interviewing her] and see what moves you. What really moves you and not just faked emotion. I don't think it's good when it's like that in art – but unfortunately it often is. That's why I like Bruce Nauman, for example, as a sculptor. With his work, sometimes I have really thought to myself, that's simply beautiful... Above all, it is difficult enough to depict something that moves you deep down inside. But that's ultimately what art is all about, and that's also what appeals to people – if an artist can do it.”

Isa Genzken (1948) German sculptor

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

People, Beauty, Art, Thinking

“In the making both of lace and of statues, the remuneration to the artists can only be reduced by producing a larger number of them through more extended education. The expense of the raw material is small in both. The expense of labour in lacemaking is very large, and it is perhaps considerable also in sculpture. The discovery of more convenient localities yielding marble, may make some diminution in its cost; and the improved manufacture of thread may slightly reduce the price of lace. A reduction in the price of labour may to a very moderate extent reduce the cost of the raw material of both. But it is evident that any very great reduction is not to be expected.
Let us now contrast this possible reduction with the past history of some industrial art. The plain lace made at Nottingham, called patent net, will supply us with a good example. In the year 1813 that lace was sold in the piece at the rate of 218. a-yard. At the present time lace of the same kind, but of a better quality, is sold under the same circumstances at 3d. per yard. Thus, in less than forty years the price of the industrial produce has diminished to one eighty-fourth part of its original price.”

Charles Babbage (1791–1871) mathematician, philosopher, inventor and mechanical engineer who originated the concept of a programmable c…

Source: The Exposition of 1851: Views Of The Industry, The Science, and the Government Of England, 1851, p. 51-52

Education, Art, History, Time

“Friends, we have now won. …I say to Aymaras, Quechuas, Chiquitaos, and Guaranis: for the first time we [indigenous people] are going to be presidents. And I want to say to businesses, intellectual professionals, and artists: do not abandon us.”

Evo Morales (1959) Bolivian politician

18 Dec 2005 in Cochabamba,zdfbzfdg Socialismo], as quoted by Spanish Wikiquote.[citation needed]

People, Business, Time

“The bond of sympathy, like the artist's eye for beauty, may stretch across many divisions.”

Theodore Roszak (1933–2011) American social historian, social critic, writer

Source: The Gendered Atom: Reflections on the Sexual Psychology of Science (1999), Ch.11 Only Connect

Beauty

“Kurt Schwitters is the inventor of Merz and I, and aside of himself, he recognizes no one as a Merz artist or an I artist with highest regards.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Die Blume Anna', a poem of Kurt Schwitters, published in 'Consistent Poetry Art' contribution to 'Magazine G', No. 3, ed. Hans Richter, 1924

“Art, moreover, is taste. It is the reflection of the artist's heart upon all the objects that he creates. It is the smile of the human soul upon the house and on the furnishing. It is the charm of thought and of sentiment embodied in all that is of use to man. But how many of our contemporaries fed the necessity of taste in house or furnishing? Formerly, in old France, Art was everywhere. The smallest bourgeois, even the peasant, made use only of articles which pleased the eye. Their chairs, their tables, their pitchers and their pots were beautiful. Today Art is banished from daily life. People say that the useful need not be beautiful. All is ugly, all is made in haste and without grace by stupid machines. The artist is regarded as an antagonist. Ah, my dear Gsell, you wish to jot down an artist's musings. Let me look at you! You really are an extraordinary man!”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Preface, p. 8-9

Life, People, Stupidity, Smile

“But I do nothing that I don't like, such as "inventing" up to the arty or "down" to the corny. I happen to relish a certain type of corn. What I think is the really dangerous approach is the "let's be artistic" attitude. I know that artistry just happens.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

op. cit., pp. 6-7.

Thinking

“The desire that drives an artist to graphic work is perhaps partly the effort to capture the unique and indefinite nature of a drawing in a fixed and durable form. Another aspect of it is that the technical manipulations exercise energies in the artist that he does not use in the far less strenuous crafts of drawing and painting... the mysterious attraction that surrounded the invention of printing in the Middle Ages is still felt by anyone who takes up graphics seriously and performs every stage in the process wit hits own hands.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 27
undated

Age, Exercises, Nature, Effort

“We are part of nature and it is part of us. Everything about our species, from the shape of our teeth to the size of our brains, has been fashioned over millennia by our interaction with the plants and animals around us. What’s more, our sense of beauty and our greatest artistic achievements have been crafted in response to nature. Our yearning for wilderness is a hankering after the place we have come from, and from which we have become alienated in the headlong march of so-called progress.”

Justin D. Fox (1967) South African author, photojournalist, lecturer and editor

The Impossible Five (2015)

Beauty, Fashion, Nature, Sense

“Art is the activity that exalts and denies simultaneously. "No artist tolerates reality," says Nietzsche.”

Albert Camus book The Rebel

Part 4: Rebellion and Art
The Rebel (1951)

Art, Reality

“Most societies are ruled by mediocre people that have no vision and no imagination. Most rulers are scared of creation and creative people. Artists are funny people. All they want is to touch and move, challenge and surprise others. But dictators hate surprises more than anything else. All they want is to turn their territory into a neat little toy prison camp and play with their little toy people. Push them around, rip a leg or a head off now and then or throw them into the garbage when they are tired of their stupid, little doll faces.”

Gottfried Helnwein (1948) Austrian photographer and painter

Interview by Michal Szyksznian http://www.gottfried-helnwein-interviews.com/interviews/celebritarian.html, celebritarian.pl, 2009

Hate, People, Stupidity, Imagination

“A man is an artist only at certain moments, by an effort of will. Objects have the same appearance for everybody.”

Edgar Degas (1834–1917) French artist

"Recollections of Degas by Berthe Morisot" (p. 84)
posthumous quotes, Degas Dance Drawing' (1935)

Effort, Appearance

“It is in accordance with the impression that the plate ought to be painted; it gives you an impact, you translate the impact, and it is this which is truly artistic. It is like this that modern art began. And note that he was right. His plates were not round, but he was right in principle.”

The Mother (1878–1973) spiritual collaborator of Sri Aurobindo

As quoted in "Paris (1897-1904)", and in The Mother on Art http://www.motherandsriaurobindo.org/Content.aspx?ContentURL=/_staticcontent/sriaurobindoashram/-02%20the%20mother/the%20mother%20as%20an%20artist/-05%20mother%20on%20art.htm

Art, Painting

“One cannot condemn tendencies in art; one can only condemn works of art. To be categorically against a current art tendency or style means, in effect, to pronounce on works of art not yet created and not yet seen. It means inquiring into the motives of artists instead of into results. Yet we all know — or are supposed to know — that results are all that count in art.”

Clement Greenberg (1909–1994) American writer and artist

"Wyndham Lewis Against Abstract Art" (1957), p. 164
1960s, Art and Culture: Critical Essays, (1961)

Art, Motivation

“The media, the galleries, the collectors – it's all very chaotic actually. The artworld doesn't have this defined corporate structure that people imagine. Of course there's a system of sorts. This person will talk to that person and somebody else will pass it on to somebody else… you can trace a line of power of some kind. But its nothing like as clear and set as people think. And this chaos leads to a lot of insecurity. It's only after an artist has achieved some independence from it that he MODERN PAINTERS can really stand up to the collectors and the dealers and do his art.”

Jeff Koons (1955) American artist

Jeff Koons in: Modern Painters. Vol. 2 (1989), p. 63
1980s

People, Art, Imagination, Thinking

“[that] simple people brought their bodies and shared their scanty bread with the artists. Kirchner learned the course of life again in their houses.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

later quote of Kirchner (writing in the third person); as quoted in Claire Louise Albiez https://www.researchgate.net/publication/272168564, in Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May 2013, p. 38 about the relaxed atmosphere, not only found in die Brücke's ateliers, but also through the Brücke-artists' contact to common people in the working quarter of the city of Dresden, c. 1906-10 undated

Life, People, Learning, Housing

“Personally, I do not need a movement. What was given to me, I take for granted. Of all movements, I like Cubism most. It had that wonderful unsure atmosphere of reflection - a poetic frame where something could be possible, where an artist could practise [sic] his intuition. It didn't want to get rid of what went before. Instead it added something to it. The parts that I can appreciate in other [art] movements came out of Cubism. Cubism became a movement, it didn't set out to be one. It has force in it, but it was no 'force-movement.' And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.”

Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Art, Thinking, Parting, Personality

“The Macedonian kings, who maintained that their Greek ancestry traced back to Zeus, had long given homes and patronage to Greece's most distinguished artists.”

Robin Lane Fox (1946) Historian, educator, writer, gardener

Source: Alexander the Great, 1973, p.48

Home

“A happy coincidence brought together [in Die Brücke ]the really talented men whose characters and gifts, even in human terms, left them with no other choice than the profession of artist. This form of living, of dwelling and working, though peculiar for a regular human being, was not a deliberate 'epater le bourgeois', but simply a very naive and pure necessity to harmonize art and life. And it was precisely this more than anything else that so tremendously influenced the forms of present-day art. Of course, it was mostly misunderstood and totally distorted, for there [the will] fashioned the form and gave it meaning, whereas here the unfamiliar form is affixed to habit, like a top hat on a cow.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

from Kirchner's Diary, 1923; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 93
1920's

Life, Men, Happiness, Art

“I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.”

Helen Frankenthaler (1928–2011) American artist

Quote from Abstract Expressionism, Barbara Hess, Taschen Köln, 2006, p. 15
1990s - 2000s

Thinking, Painting

“Female artists are the perfect example of a creator: They know how to make life and art with their bodies. Life comes from their bodies, so on a very basic level, they have more to write about.”

Brandon Boyd (1976) American rock singer, writer and visual artist

RS, on some of his favorite female artists such as Ani DiFranco and Bjork

Life, Art, Perfection

“The blacksmith, by main force, unclosed the infant's hand, and found within the palm a small heap of glittering fragments, whence the mystery of beauty had fled forever. …Owen Warland …looked placidly at what seemed the ruin of his life's labor, and which was yet no ruin. He had caught a far other butterfly than this. When the artist rose high enough to achieve the beautiful, the symbol by which he made it perceptible to mortal senses became of little value in his eyes while his spirit possessed itself in the enjoyment of the reality.”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

"The Artist of the Beautiful" (1844)

Life, Beauty, Reality, Sense

“The scientist addresses an infinitesimal audience of fellow composers. His message is not devoid of universality but it's universality is disembodied and anonymous. While the artist's communication is linked forever with it's original form, that of the scientist is modified, amplified, fused with the ideas and results of others, and melts into the stream of knowledge and ideas which forms our culture. The scientist has in common with the artist only this: that he can find no better retreat from the world than his work and also no stronger link with his world than his work.”

Max Delbrück (1906–1981) biophysicist

Nobel Prize acceptance speech (1969) http://www.nobelprize.org/nobel_prizes/medicine/laureates/1969/delbruck-lecture.html

World, Communication, Idea, Knowledge

“If one tries to understand the position of art today, one must also try to understand the conditions that have created the development of our perception of art and our perception of the relation to the individual and to society. The artist takes an active part in the campaign to deepen this our knowledge of the basis of our existence, the basis which, for him, makes possible an artistic creation. The artist's interest cannot be restricted to a single field; he must seek the highest perception of everything, of the whole and its details. Nothing can be sacred to him, because everything has become important to him.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

Art, Understanding, Knowledge, Parting

“The study of economics does not seem to require any specialized gifts of an unusually high order. Is it not, intellectually regarded, a very easy subject compared with the higher branches of philosophy and pure science? Yet good, or even competent, economists are the rarest of birds. An easy subject, at which very few excel! The paradox finds its explanation, perhaps, in that the master-economist must possess a rare combination of gifts. He must reach a high standard in several different directions and must combine talents not often found together. He must be mathematician, historian, statesman, philosopher – in some degree. He must understand symbols and speak in words. He must contemplate the particular in terms of the general, and touch abstract and concrete in the same flight of thought. He must study the present in the light of the past for the purposes of the future. No part of man's nature or his institutions must lie entirely outside his regard. He must be purposeful and disinterested in a simultaneous mood; as aloof and incorruptible as an artist, yet sometimes as near the earth as a politician. Much, but not all, of this many-sidedness Marshall possessed. But chiefly his mixed training and divided nature furnished him with the most essential and fundamental of the economist's necessary gifts – he was conspicuously historian and mathematician, a dealer in the particular and the general, the temporal and the eternal, at the same time.”

John Maynard Keynes (1883–1946) British economist

Source: Essays In Biography (1933), Alfred Marshall, p. 170; as cited in: Donald Moggridge (2002), Maynard Keynes: An Economist's Biography, p. 424

Lie, Mood, Understanding, Nature

“It seems to me that today, if the artist wishes to be serious — to cut out a little original niche for himself, or at least preserve his own innocence of personality — he must once more sink himself in solitude. There is too much talk and gossip; pictures are apparently made, like stock-market prices, by competition of people eager for profit; in order to do anything at all we need (so to speak) the wit and ideas of our neighbors as much as the businessmen need the funds of others to win on the market. All this traffic sharpens our intelligence and falsifies our judgment.”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebook entry c. 1860's; as quoted in Artists on Art: From the XIV to the XX Century, ed. Robert Goldwater (Pantheon, 1945)
1855 - 1875

People, Intelligence, Idea, Solitude

“There are definitely people I respect and I love their music, but there was never really an artist that I said, "I want to be just like them, I love the way their career is going. I love their music." It wasn't really like that. I wanted to be like myself.”

Hilary Duff (1987) American actress and singer

Love, People, Music, Way

“What do I really want to do, and what will help me continue to be creative, and what will lead me towards being the artist that I want to be in the end.”

Hilary Hahn (1979) American violinist

Why Violinist Hilary Hahn Will Never Just Stick to the Classical Repertoire (2012)

Help

“This is not an objective, historical or psychological evaluation of Danish experimental art and its historical roots, but an ideological and artistic, collective representation of our own work, thoughts, and ideas. It shows how we ourselves view our work and our way of working, and considers which of the many traditions that make up our foundation we feel connected to.”

Asger Jorn (1914–1973) Danish artist

from Jorn's 'Notebook', containing the draft for a book on Danish experimental art (1948)
1949 - 1958, Various sources

Art, Way, Feeling, Idea

“[a new order].. independent of the values of the feelings, and the description and imitation of nature... The value of technique beauty without artistic intention resides in its organism and can be deducted at the same time by its geometric ambitions. I can therefore speak of a new order: the architecture of the technical world. Since the industrial object belongs to the architectonic order, it is assigned an important role in today's artistic creation.”

Fernand Léger (1881–1955) French painter

Quote from Leger's lecture "The aesthetics of the machine", in Paris, June 1924; as quoted by Paul Westheim in Confessions of Artists. - Letters, Memoirs and Observations of Contemporary Artists; Propyläen Publishing House, Berlin, 1925, p. 324; cited in Review by Francesco Mazzaferro http://letteraturaartistica.blogspot.nl/2016/03/paul-westheim1717.html Quotes of Fernand Leger, 1920's

World, Beauty, Feeling, Nature

“Once we become conscious of a feeling and attempt to make a corresponding form, we are engaged in an activity which, far from being sincere, is prepared (as any artist if he is sincere will tell you) to moderate feelings to fit the form. The artist’s feeling for form is stronger than a formless feeling.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

Source: Collected Poems (1966), p. 18

Feeling, Sincerity

“I don't think I'd be very good at what you'd call an ordinary job. I think I might be an artist, mixed media. And that is still something I'm interested in pursuing at some point, but I have this fear of taking my eye off the ball, and get distracted from that acting thing.”

Gillian Anderson (1968) American-British film, television and theatre actress, activist and writer

The Guardian "Gillian Anderson webchat – as it happened" http://www.theguardian.com/stage/live/2015/feb/06/gillian-anderson-webchat-young-vic-the-departure/ (February 6, 2015) 2010s

Fear, Thinking

“The man who tells the tale if he has a tale worth telling will know exactly what he is about and this business of the artist as a sort of starry-eyed inspired creature, dancing along, with his feet two or three feet above the surface of the earth, not really knowing what sort of prints he's leaving behind him, is nothing like the truth.”

William Golding (1911–1993) British novelist, poet, playwright and Nobel Prize for Literature laureate

Interview with Frank Kermode, BBC Third Programme (28 April 1959)

Truth, Business, Dance

“I think I just kind of thought about all the artists that I really respected throughout the - just any genre of music really and I think everybody that I respected and liked. They were just them. You know, they're people who always stuck to who they were, and were true and honest about who they were. So I think that kind of gave me a real like confidence to just stick at it. Just thinking about people like Bjork - you know, I don't know, Bob Dylan, you know artists that truly were strong in themselves.”

M.I.A. (1975) British recording artist, songwriter, painter and director

M.I.A. Interview http://web.archive.org/web/20070926225407/http://www.muchmusic.com/music/artists/transcripts.asp?artist=1213 on MuchMusic's MuchOnDemand (September 2005). Sourced quotes

People, Music, Confidence, Thinking

“From the top of the campanile, or Giotto's bell tower, in Florence, one can look out over the city in all directions, past the stone banking houses where the rich Medici lived, past the art galleries they patronized, past the magnificent cathedral and churches their money helped to build, and on to the Tuscan vineyards where the contadino works the soil as hard and efficiently as he probably ever did. The city below is busy with life. The university halls, the shops, the restaurants are crowded. The sound of Vespas, the "wasps" of the machine age, fills the air, but Florence is not today what it once was, the center in the 15th century of a great civilization, one of the most extraordinary the world has ever known. Why? What produced the Renaissance in Italy, of which Florence was the center? How did it happen that such a small population base could produce, in the short span of a few generations, great historical figures first in commerce and literature, then in architecture, sculpture and painting, and finally in science and music? Why subsequently did Northern Italy decline in importance both commercially and artistically until at the present time it is not particularly distinguished as compared with many other regions of the world? Certainly the people appear to be working as hard and energetically as ever. Was it just luck or a peculiar combination of circumstances? Historians have been fascinated by such questions ever since they began writing history, because the rise and fall of Florence or the whole of Northern Italy is by no means an isolated phenomenon.”

David C. McClelland (1917–1998) American psychological theorist

Source: The Archiving Society, 1961, p. 1; lead paragraph, about the problem

Life, Money, People, Age

“What the rest of us see only under the influence of mescalin, the artist is congenitally equipped to see all the time. His perception is not limited to what is biologically or socially useful.”

Aldous Huxley book The Doors of Perception

Page 168
The Doors of Perception (1954)

Time

“For the late twentieth-century museum director there is no more certain prospect for audience acclaim and sponsor success than those Impressionist and Post-impressionist artists who were so reviled a century earlier”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

Success

“It's a way of life for me. To me, Scientology is the very thing that artists need, in the sense that it's not a religion that you have to change the way that you pray or think about the Creator. What's incredible about Scientology is that this is the first time there's been a real technology on human relationships. To me, that's what's missing in the world. Like most of us, I grew up in a mechanical world. And when I got into music, it was mechanical in the sense of choosing notes and chords. Missing were the humanities. What ever happened to how you really live? How you feel? How you relate to people? How you reach out and help someone? I think that's one of the most basic, natural tendencies all people have—to help. Scientology gives you the necessary tools to be successful at helping someone.”

Chick Corea (1941) American jazz and fusion pianist, keyboardist, and composer

Response when asked "How has Scientology influenced your artistry?". BET Jazz (December 2004)

Life, People, World, Religion

“Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.”

Pauline Kael (1919–2001) American film critic

"Le Mystère Picasso," p. 511.
5001 Nights at the Movies (1982)

Art

“Artistic growth is, more than it is anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is.”

Willa Cather book The Song of the Lark

Part VI, Ch. 11
The Song of the Lark (1915)

Truth, Stupidity, Sense

“Hofmann is perhaps the most difficult artist alive-difficult to grasp and to appreciate. But by the same token he is an immensely interesting, original, and rewarding one, whose troubles in clarifying his art stem in large part precisely from the fact that he has so much to say.”

Clement Greenberg (1909–1994) American writer and artist

On Hans Hofmann, in "Hofmann", in Georges (Fall 1961) http://www.sharecom.ca/greenberg/hofmann.html 1960s

Art, Parting

“How many good male artists are there? The number of living artists I truly esteem I can put on one hand and I wouldn't even have to lift up all my fingers - and that breaks my heart.”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Heart

“The era that humanity has entered is an era of industrial development and therefore the organisation of artistic elements must be applied to the design of the material elements of everyday life, i. e. to industry or to so-called production. The new industrial production, in which artistic creativity must participate, will differ radically from the traditional aesthetic approach to the object, in that primarily attention will be focused not on the artistic decoration of the object (applied art), but on the artistic organisation of the object in accordance with the principles of creating the most utilitarian object.... If any of the different types of fine art (i. e., easel painting, drawing, engraving, sculpture, etc.) can still retain some purpose, they will do so only * 1. while they remain as the laboratory phase in our search for essential new forms * 2. insofar as they serve as supportive projects and schemes for constructions and utilitarian and industrially manufactured objects that have yet to be realised”

Lyubov Popova (1889–1924) Russian artist

Liubov Popova, untitled manuscript, signed and dated December 1921, Manuscript Department, State Tretjakov Gallery, Moscow, (fond 148, op.17, l. 3–4); transl. John Bowlt; the same text is reproduced in Women Artists of the Russian Avant-Garde 1910–1930, Cologne 1979, p. 68

Life, Art, Search, Support

“The famous nude artist, Pricasso, who uses his member to paint, was kept busy swishing his "brush" over the canvas. He was quite a drawcard - and many a male observer whipped out his cellphone to take a picture.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Sexpo's popularity profitable for entrepreneurial granny, 6 February 2009, 5, Independent Online]
About

Business, Painting

“Traditional Chinese characters carry both cultural significance and artistic values and promoting these characters has nothing to do with any political stance. It's very important for us not to sacrifice the characters for tourism.”

Ma Ying-jeou (1950) Taiwanese politician, president of the Republic of China

Ma Ying-jeou (2014) cited in: " No plans to promote use of simplified characters: Ma http://www.taipeitimes.com/News/taiwan/archives/2014/01/02/2003580339" in Taipei Times, 2 January 2014. Statement made during a calligraphy activity in Grand Hotel in Taipei, 1 January 2014. Other topics

“And then there is that one-man movement, Marcel Duchamp — for me a truly modern movement because it implies that each artist can do what he thinks he ought to — a movement for each person and open for everybody.”

Willem de Kooning (1904–1997) Dutch painter

1990's & from posthumous publications
Source: Quoted in A Brief History of American Culture (1996) by Robert M. Crunden, p. 279.

Thinking, Personality

“An artist cannot be partially sincere any more than art can be an approximation of beauty.”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 47

Beauty, Art, Sincerity

“When I read the gospels, I don’t see a wise and benevolent sage imparting truth. I see a religious extremist and faith-healer, who is just as much of a scam artist as any of the exorcists still practicing today. Remember that Jesus taught his disciples how to do faith healing too, just like tele-evangelists still do. Jesus didn’t believe in washing your hands because he didn’t know about pathogens. He believed in demons instead. And he cursed a fig tree because he didn’t know they were out-of-season. Likewise he didn’t know that the farmers of his day already knew about other seeds that were smaller than mustard seeds. My best evidence was Jesus’ complaint that the people who knew him since childhood wouldn’t buy any of his bullshit. So the only indications I had to believe in a historic Jesus were the very points that implied that he could not be a god nor have any real connection to God. So there are only two possibilities: Jesus was either an ignorant 1st century charlatan and cult leader heavily exaggerated like Robin Hood, or he’s a completely imaginary legendary figure like Hercules. Remember how Jesus said that he came not to bring peace but a sword; that he would divide husbands from their wives and children from their parents all on behalf of beliefs based on faith? Remember also that faith, (an unreasonable assertion of complete conviction which is not based on reason and is defended against all reason) —is the most dishonest position it is possible to have. Any belief which requires faith should be rejected for that reason.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

"Jesus never existed" http://www.patheos.com/blogs/reasonadvocates/2015/11/03/jesus-never-existed/, Patheos (November 3, 2015) Patheos

God, Children, People, Truth

“The task of the artist at any time is uncompromisingly simple – to discover what has not yet been done, and to do it.”

Craig Raine (1944) Poet

The Guardian, August 19, 1988.

Time

“Bosboom has just as anyone else fussed around things [paintings] from time to time to get his money. Only very few people can escape this... It is almost impossible that an artist who doesn't have the gift to work for the market as well, will always have to make good things. Because, when he has no money he has to earn it. And he will have to strain himself. For something he appreciates the least of all. He can never neglect this... The examples you can see everywhere. If you may write something about him [Bosboom] again, I hope you will take this into account too.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek version in original Dutch (citaat van zijn brief aan nl:Jan Veth, in het Nederlands:) Bosboom heeft net zoo goed als een ander wel eens dingen afgepeuterd om aan geld te komen. daar ontsnappen maar heel weinig menschen aan.. .Het is bijna onmogelijk dat een artist die niet de gaaf heeft om tegelijk voor de verkoop te werken altijd heeft goede dingen te maken. omdat hij als hij geen geld heeft het moet verdienen. En hij zich zal moeten inspannen. Voor iets waar hij minst voor voelt. Dat nooit nalaten kan.. .De voorbeelden zijn voor 't grijpen. Als je soms iets over hem mocht schrijven hoop ik dat je dit ook in aanmerking zult nemen. quote of Breitner in a letter to Jan Veth, Amsterdam, Fall 1891; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/80 Jan Veth wrote an memorial on Johannes Bosboom, shortly after Bosboom's death 1890 - 1900

Money, People, Hope, Time

“I didnt at first because horror movies scared me too much, but I really do love the genre and its a playground where you can really be artistic and create ideas in the minds of the audience and portray the unreal. Its very cool experimentation ground for a filmmaker.”

Sam Raimi (1959) American film director, producer, writer and actor

Interview: Sam Raimi on ASH VS. EVIL DEAD, DARKMAN and THE LAST OF US https://www.comingsoon.net/horror/news/747524-interview-sam-raimi-ash-vs-evil-dead-darkman-last-us#/slide/1 (October 26, 2015)

Love, Idea

“The character of the artist has to be responsive and lucky. Personally I have never been interested in a defensible reason post card for working achievement functionally is a delusion. To do a needed work short changes art. It seems to me that a great part Indian moccasins of urgency in working lies in the fact that one acts freely friends and associates may become more closely allied with you real soon.”

Robert Rauschenberg (1925–2008) American artist

Quote from 'Note on Painting', Robert Rauschenberg, in Pop Art Redefined, October/November 1963, J. Rusell and Suzi Gablik, Praeger Publishers, New York, 1969
1960's

Art, Change, Parting, Personality

“I’ve had several teachers who inspired me. Most notable was, perhaps, an English teacher I had during my junior year of high school. All my life I’d been praised and encouraged as an artist. This particular teacher did this, but she also encouraged me as a writer, going so far as to say once, “I wouldn’t be surprised if I saw your name on a book one day.””

Kevin Henkes (1960) American children's illustrator and writer

The power of these words was enormous. I’ll never forget them. Or her. Meet the Man Behind Our Favorite Mouse: An Interview with Kevin Henkes http://www.kindercare.com/content-hub/articles/2016/march/meet-the-man-behind-our-favorite-mouse-an-interview-with-kevin-henkes (March 21, 2016)

Life, Books, School, Teachers

“The 'open' mind of the poet and artist can sense realities beyond the reach of our normal senses. The real problem is that our materialistic assumptions have a number of false premises built into them: it is only when we recognize this that we see there is no sharp dividing line between the everyday world and the invisible world of the clairvoyant.”

Colin Wilson (1931–2013) author

Source: Beyond the Occult (1988), p. 294

World, Problem, Reality, Sense

“Despite the hundreds of attempts, police terror and the concentration camps have proved to be more or less impossible subjects for the artist; since what happened in them was beyond the imagination, it was therefore also beyond art and all those human values on which art is traditionally based.”

Al Alvarez (1929–2019) English poet, novelist, essayist and critic

Page 251.
The Savage God (1971)

Art, Imagination

“You have to recognize those writers who are artists in the same sense as the musicians.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "Meet Clare Fischer" http://cdassassin.wordpress.com/2010/10/28/1999-interview-at-allaboutjazz-com/

Sense

“The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can’t lick ’em, join ’em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else.”

Ursula K. Le Guin (1929–2018) American writer

“The Ones Who Walk Away from Omelas” p. 254 (originally published in New Dimensions 3, edited by Robert Silverberg)
Hugo Award for Best Short Story in 1974
Short fiction, The Wind’s Twelve Quarters (1975)

Pain, Happiness, Stupidity, Evil

“My conscious motivation was to bring German art up to the highest level. I saw what the French artists could do since some time, we could do much more. I spoke in front of our youth, I can say with success.”

Lovis Corinth (1858–1925) German painter

Quote, 1923; in Lovis Corinth, Selbstbiographie, L. Corinth; Hirzel, Leipzig, 1926, p. 189; as quoted in: German Artists' Writings in the XX Century - Lovis Corinth, Autobiographic Writings. Part two http://letteraturaartistica.blogspot.nl/2014/10/german-artists-writings-in-xx-century.html he wrote this quote in 1923 - the year of a retrospective exhibition of great success for him

Youth, Art, Motivation, Time

“To see deep difficulty braved is at any time, for the really addicted artist, to feel almost even as a pang the beautiful incentive, and to feel it verily in such sort as to wish the danger intensified. The difficulty most worth tackling can only be for him, in these conditions, the greatest the case permits of.”

Henry James book The Portrait of a Lady

The Portrait of a Lady.
Prefaces (1907-1909)

Beauty, Feeling, Time

“ANARCHISM (from the Gr. ἅν, and άρχη, contrary to authority), the name given to a principle or theory of life and conduct under which society is conceived without government — harmony in such a society being obtained, not by submission to law, or by obedience to any authority, but by free agreements concluded between the various groups, territorial and professional, freely constituted for the sake of production and consumption, as also for the satisfaction of the infinite variety of needs and aspirations of a civilized being. In a society developed on these lines, the voluntary associations which already now begin to cover all the fields of human activity would take a still greater extension so as to substitute themselves for the state in all its functions. They would represent an interwoven network, composed of an infinite variety of groups and federations of all sizes and degrees, local, regional, national and international temporary or more or less permanent — for all possible purposes: production, consumption and exchange, communications, sanitary arrangements, education, mutual protection, defence of the territory, and so on; and, on the other side, for the satisfaction of an ever-increasing number of scientific, artistic, literary and sociable needs. Moreover, such a society would represent nothing immutable. On the contrary — as is seen in organic life at large — harmony would (it is contended) result from an ever-changing adjustment and readjustment of equilibrium between the multitudes of forces and influences, and this adjustment would be the easier to obtain as none of the forces would enjoy a special protection from the state.”

Peter Kropotkin (1842–1921) Russian zoologist, evolutionary theorist, philosopher, scientist, revolutionary, economist, activist, geogr…

Kropotkin's entry on "Anarchism" in the Encyclopædia Britannica (1910) http://dwardmac.pitzer.edu/Anarchist_Archives/kropotkin/britanniaanarchy.html

Life, Education, Law, Communication

“Artists don’t live in the everyday world. That’s why people think they’re an odd bunch.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

People, World, Thinking

“The Pythagoreans thought those who teach for the sake of reward show themselves worse than sculptors, or artists who perform the work sitting. For these, when someone orders wood to make a statue of Hermes, search for wood suited to receive the proper form; while those pretend that they can readily produce the works of virtue from every nature.”

Iamblichus (240–320) Syrian philosopher

Life of Pythagoras

Search, Nature

“But she [Virginia Woolf] is impotently distant from an understanding of the proper relations between literature and society, because she has no clear sense of the functions of literature. She sees writers as individual 'artists' working in mysterious privacy - which from time to time society rudely invades. Her writer, indeed, has all the characteristics of traditional 'femininity' - with society as the big strong male who should protect and cherish his literary womenfolk, but does not. She might - for all the application of her complaint to the relations between society and literature - be talking of the relations between husbands and wives.”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

Laura Riding and Harry Kemp from The Left Heresy in Literature and Life (London: Methuen, 1939)

Literature, Understanding, Sense, Strong

“I have come to believe that a great teacher is a great artist and that there are as few as there are any other great artists. It might even be the greatest of the arts since the medium is the human mind and spirit.”

John Steinbeck (1902–1968) American writer

"...like captured fireflies" (1955); also published in America and Americans and Selected Nonfiction (2003), p. 142

Art, Teachers

“As I was writing about Grace Marks, and about her interlude in the Asylum, I came to see her in context — the context of other people's opinions, both the popular images of madness and the scientific explanations for it available at the time. A lot of what was believed and said on the subject appears like sheer lunacy to us now. But we shouldn't be too arrogant — how many of our own theories will look silly when those who follow us have come up with something better? But whatever the scientists may come up with, writers and artists will continue to portray altered mental states, simply because few aspects of our nature fascinate people so much. The so-called mad person will always represent a possible future for every member of the audience — who knows when such a malady may strike? When "mad," at least in literature, you aren't yourself; you take on another self, a self that is either not you at all, or a truer, more elemental one than the person you're used to seeing in the mirror. You're in danger of becoming, in Shakespeare's works, a mere picture or beast, and in Susanna Moodie's words, a mere machine; or else you may become an inspired prophet, a truth-sayer, a shaman, one who oversteps the boundaries of the ordinarily visible and audible, and also, and especially, the ordinarily sayable. Portraying this process is deep power for the artist, partly because it's a little too close to the process of artistic creation itself, and partly because the prospect of losing our self and being taken over by another, unfamiliar self is one of our deepest human fears.”

Margaret Atwood (1939) Canadian writer

Ophelia Has a Lot to Answer For (1997)

People, Truth, Fear, Literature

“Craft, I would argue, is not an essential part of art, though skill is. That skill may indeed find its expression in draughtsmanship or carving, realised through the hand of the artist, but it may also be directed towards the selection of material or the choice of an expert fabricator.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

Art, Parting

“Most imprisoned writers have been shut away for their activities as citizens striving for liberation against the oppression of the general society to which they belong. Others have been condemned by repressive regimes for serving society by writing as well as they can; for this aesthetic venture of ours becomes subversive when the shameful secrets of our times are explored deeply, with the artist's rebellious integrity to the state of being manifest in life around her or him; then the writer's themes and characters inevitably are formed by the pressures and distortions of that society as the life of the fisherman is determined by the power of the sea.”

Nadine Gordimer (1923–2014) South african Nobel-winning writer

Writing and Being (1991)

Life, Secret, Time, Sea

“Studies in painting: Non. He learned to express himself by means of art in the same way as the child learns to talk. No teaching is needed for the one who is born an artist, and even the expression 'self-taught' is a phony, he thinks.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in a questionnaire, Max Ernst filled out in 1948, the U.S; as cited in Max Ernst: a Retrospective, ed. Werner Spies & Sabine Rewald, Metropolitan Museum of Art, New York 2005, p. 7
1936 - 1950

Art, Way, Thinking, Study

“If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 260, "What's New: Ritual Revolution"

Art, Past

“As citizens of Cheon Il Guk, please have the wisdom to protect and love nature. Return to nature and enjoy a life of liberation and complete freedom. To love nature is to love God and humanity. When human life resonates with nature, human character can blossom in perfection. The flowers of a true culture of heart, a true artistic world, will bloom. It will be the Garden of Eden, the original ideal where human beings and all creation live in complete harmony and express their original nature.”

Sun Myung Moon (1920–2012) Korean religious leader

Cheon Il Guk is the Ideal Heavenly Kingdom of Eternal Peace http://www.unification.net/2006/20060613_1.html (2006-06-13)

Love, Life, Wisdom, God

“Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 12: Millet

World, Hope, Feeling, Motivation

“There's the all mighty powerful ones like Mr. Khan — which is a con artist himself, and he uses the death of his son, who's an American soldier, which we respect and honor, and he uses that to go after Trump, which I found very distasteful.”

Paul LePage (1948) American businessman, Republican Party politician, and the 74th Governor of Maine

In an interview with Boston radio host Howie Carr. http://mpbn.net/post/lepage-calls-father-slain-muslim-american-soldier-con-artist#stream/0 (August 25, 2016)

Death

“I saw that everything famous and beautiful in the world, if we judge by the descriptions and drawings of writers and artists, always loses when we go to see it and examine it closely.”

Giacomo Casanova (1725–1798) Italian adventurer and author from the Republic of Venice

History of My Life (trans. Trask 1967), 1997 reprint, vol. 11, chap. 4, p. 112

World, Beauty, Drawing

“I started with a kind of artistic approach… I visualized the best-looking shapes and sizes. I worked with the variables until it got to the point where, if I changed one of them, it didn't get any better… [only then I] figure out the mathematical formula to produce that effect.”

Arthur H. Robinson (1915–2004) American geographer

Robinson (1988) in The New York Times as cited in: John Noble Wilford (2004) " Arthur H. Robinson, 89, Geographer Who Reinterpreted World Map, Dies http://www.nytimes.com/2004/11/15/obituaries/15robinson.html?_r=0" in: The New York Times November 15, 2004: About the development of the Robinson projection.

Mathematics, Change

“The distinguishing quality of most primitive art is the intense vitality which it possesses, because it has been made by a people in close touch with life, who felt simply and strongly, and whose art was a means of expressing vitally important beliefs, hopes and fears. Negro sculpture is essentially religious and cannot be detached from the tribal gods, priests and ancient rituals. When civilization destroyed these things, it also destroyed their Art. These carvings have a serious and pathetic power – a bigness and monumental simplicity born of the racial patience in bearing life with all its terror and mystery....(But as always, it was the artist who was the first to see in them a new thing – a new plastic conception – an artistic worth – a value as art – their importance as art).”

Henry Moore (1898–1986) English artist

1925 - 1940
Source: Primitive African Sculpture, Foreword, Lefevre Galleries, London 1933, p. ?

Life, God, People, Fear

“At present we are living through an unusual period in time a new cosmic creation has become reality in the world, a creativity within ourselves which pervades our consciousness.... in this way the artist became the foundation on which progress in the reconstruction of life could advance beyond the frontiers of the all-seeing eye and the all-hearing ear. Thus a picture was no longer an anecdote nor a lyric poem nor a lecture on morality nor a feast for the eye but a sign and symbol of this new conception of the world which comes from within us.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Suprematism' in World Reconstruction (1920)

Life, World, Way, Reality

“The artist is the only one who detaches himself from life, opposes his personality against it, he is the only one who orders things as he wishes them to be in place of things as they are. Thus for him life is not a fait accompli, it is something to remake, to do again. He takes possession of his gifts in order to continue, to change, He makes his choice, it is he who creates the conceptions of beautiful and ugly, those are the things to preserve, the things to change. At the seat of the things that it is necessary to change he puts his desires, his aspirations, in one word, his personality…”

Marianne von Werefkin (1860–1938) expressionist painter

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

Life, Beauty, Change, Personality

“Convince yourself. Kovno is a treasure-trove for artists. It is gloomy, the lamps don't make it lighter and the streets are getting darker. Their violet windows hover threateningly in the darkness. The elusive lines of low houses, on them - the glimmer of green and red flames - illuminating rows of shops. Bright green bright red stripes [all] fall on the violet sidewalk. And all those shadows are full of people who only speak about one thing, about love, in the dialect, Polish or broken Russian. Whispers and loud words touch the silence, like the green and red bands of light - the darkness of the night. Something terrible, terrible lies over everything, I feel a shudder, it seems I am in another world, far away from real life.”

Marianne von Werefkin (1860–1938) expressionist painter

Quote from Werefkin's letter to Alexej von Jawlensky, between December 1909 and Spring 1910; as cited in 'Ambiguity of Home: Identity and Reminiscence in Marianne Werefkin's Return Home, c. 1909', Adrienne Kochman http://www.19thc-artworldwide.org/spring06/52-spring06/spring06article/171-ambiguity-of-home-identity-and-reminiscence-in-marianne-werefkins-return-home-c-1909 1906 - 1911

Love, Life, People, World

“We do live, all of us, on many different levels, and for most artists the world of imagination is more real than the world of the kitchen sink.”

Madeleine L'Engle (1918–2007) American writer

Section 2.2
The Crosswicks Journal, A Circle of Quiet (1972)

World, Imagination

“When I hear artists or authors making fun of business men, I think of a regiment in which the band makes fun of the cooks.”

H.L. Mencken (1880–1956) American journalist and writer

Reported in various works including Eugene C. Gerhart, Quote It Completely!: World Reference Guide to More Than 5,500 Memorable Quotes from Law and Literature (1998), p. 113, which cites the quote to MENCKEN, HL, A New Dictionary of Quotations, New York: Alfred A. Knopf, 1957, p. 134. However, the authorship of the quote does not lie with any work original to Mencken, and was previously reported as an anonymous quote.
Misattributed

Men, Business, Thinking, Cooking

“The life of the artist should be distinguished from that of all other people, even in external habits. They are Brahmins, a higher caste, not ennobled by birth, however, but through deliberate self-initiation.”

Karl Wilhelm Friedrich Schlegel (1772–1829) German poet, critic and scholar

Selbst in den äusserlichen Gebräuchen sollte sich die Lebensart der Künstler von der Lebensart der übrigen Menschen durchaus unterscheiden. Sie sind Braminen, eine höhere Kaste, aber nicht durch Geburt sondern durch freye Selbsteinweihung geadelt.
“Selected Ideas (1799-1800)”, Dialogue on Poetry and Literary Aphorisms, Ernst Behler and Roman Struc, trans. (Pennsylvania University Press:1968) # 146
Variant translation: Even in their outward behavior, the lives of artists should differ completely from the lives of other men. They are Brahmins, a higher caste: ennobled not by birth, but by free self-consecration.
“Ideas,” Lucinde and the Fragments, P. Firchow, trans. (1991), § 146

Life, People, Birth

“The artist is living a secret that he has to make manifest”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Secret

“In this painting ['Moscow'], I was in fact in quest for a certain hour, which was and which remains always the most beautiful hour of the day in Moscow. The sun is already low and has reached its highest force, which it has searched all the day, to which it has aspired all the day... The sun dissolves all Moscow in a spot, which as a frenzied tuba makes entered into vibration all the inner being, the whole soul... Rendering this hour seemed the biggest, the most impossible of the happiness for an artist. These impressions renewed every sunny day. They brought me a joy which shattered me until the bottom of the soul, and which reached until ecstasy.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from: 'Looks on the past', Wassily Kandinsky; published in der Sturm, Berlin 1913
1910 - 1915

Happiness, Beauty, Soul, Search

“I know that many artists feel that they are frauds - that's part of the pleasure of creativity.”

David Cronenberg (1943) Canadian film director, screenwriter and actor

Cronenberg: An intellectual with ominous powers http://www.nytimes.com/2006/05/19/arts/19iht-dupont.html (May 19, 2006)

Pleasure, Feeling, Fraud, Parting

“Like Rimbaud before them, the surrealists abandoned the aesthetic altogether; it takes a certain courage to leave poetry for Africa [as Rimbaud himself did]. They revealed their insight as essentially moral in never forgetting for a moment that most living is a process of conforming to an established order which is inhuman in its drives and consequences. Their hatred sustained them through all the humiliating situations in which the modern artist find himself, and led them to conceptions beyond the reach of more passive souls. For them true 'poetry' was freedom from mechanical social responses. No wonder they loved the work of children and the insane – if not the creatures themselves.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Love, Children, Soul, Courage

“At the time when I was working on the exhibitions I was also very active as a book artist and in photo montage (for I could carry out those assignments when my sickness obliged me remain lying down).”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

Books, Photo, Lying, Time

“I want to go further and further. I can hardly wait until I am a real artist. And then I long so for life. I've only begun to get a little taste of it.”

Paula Modersohn-Becker (1876–1907) German artist

In her Journal-entry, December, 1898; as quoted in Modersohn-Becker P, Busch G, Reinken LV: Paula Modersohn-Becker, the Letters and Journals, Taplinger; New York 1983, p. 118
1898

Life, Waiting

“The "music of decline" had sounded, as in that wonderful Chinese fable; like a thrumming bass on the organ its reverberations faded slowly out over decades; its throbbing could be heard in the corruption of the schools, periodicals, and universities, in melancholia and insanity among those artists and critics who could still be taken seriously; it raged as untrammeled and amateurish overproduction in all the arts.”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

School, Art, Music, Universe

“There is direct correlation between a society lacking in artistic vision to lack of social conscience, i. e., crime, poverty, and senseless, violent atrocities, materialism.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

State of the Art (2000)

“The plan is to always have a plug into my past, where I am from. And how deep that is and having that gave me confidence to be able to expand. I am confident that I have something (music) that is backing me and that is always there for me… so that I can explore more, learn and grow more as an artiste and as a musician.”

Zakir Hussain (musician) (1951) Indian tabla player, musical producer, film actor and composer

Quote, I am not torchbearer of Indian classical music: Zakir Hussain

Music, Confidence, Learning, Past

“I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting... An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies…”

Robert Motherwell (1915–1991) American artist

Source: 1950s, The painter and the audience' (1954), pp. 109-110

Art, Way, Thinking, Painting

“Indian contemporary artists have not come to this standard. So I feel happy that I could present something to them. My work has a different meaning and something like this has never been done by any other Indian artist.”

S. H. Raza (1922–2016) Indian artist

Indian contemporary artists have not reached my standard: SH Raza

Happiness, Feeling

“I think you're all mad. But that's part and parcel of being an artistic genius, isn't it?”

Charles de Lint (1951) author

"Baiting the Hook", p. 42
Memory and Dream (1994)

Thinking, Parting, Madness

“A scientist, an artist, a citizen is not like a child who needs papa methodology and mama rationality to give him security and direction, he can take care of himself, for he is the inventor not only of laws, theories, pictures, plays, forms of music, ways of dealing with his fellow man, institutions, but also entire world view, he is the inventor of entire forms of like.”

Paul Karl Feyerabend book Science in a Free Society

pg 38, italics are feyerabends.
Science in a Free Society (1978)

World, Law, Music, Way

“China under the Tang, Sung, and Ming dynasties, the Islamic world from the eighth to the twelfth centuries, and Byzantium from the eighth to the eleventh centuries far surpassed Europe in wealth, territory, military power, and artistic, literary and scientific achievements. Between the eleventh and thirteen centuries, European culture began to develop, facilitated by the "eager and systematic appropriation of suitable elements from the higher civilization of Islam and Bizantium, together with adaptation of this inheritance to the special conditions and interests of the West."”

Samuel P. Huntington (1927–2008) American political scientist

Source: The Clash of Civilizations and the Remaking of World Order (1996), Ch. 2 : Civilizations in History and Today, § 10 : Relations Among Civilizations, p. 50

World, Wealth

“Complete honesty has nothing to do with "purity" or naivety. The full truth is unattainable to naivety, and the completely honest artist is not pure in heart.”

Clement Greenberg (1909–1994) American writer and artist

"Partisan Review 'Art Chronicle': 1952" (1952), p. 146
1960s, Art and Culture: Critical Essays, (1961)

Truth, Heart, Naivety

“I respect Britney as a singer and artist. We’re different. She’s 20. I’m 10. She does pop. I do country and blues.”

Taylor Horn (1992) American musician and actor

On being compared to fellow Kentwoodian and singer Britney Spears. The Sunday Star http://www.webcitation.org/query?id=1256525764738342&url=www.geocities.com/thecoolchip03/sundaystar.htm article, unidentified issue

Country