Quotes about critic
page 6

Charles Stross photo
K. R. Narayanan photo
Charles, Prince of Wales photo

“A large number of us have developed a feeling that architects tend to design houses for the approval of fellow architects and critics, not for the tenants.”

Charles, Prince of Wales (1948) son of Queen Elizabeth II of the United Kingdom

Prince of Wales' website http://www.princeofwales.gov.uk/speechesandarticles/a_speech_by_hrh_the_prince_of_wales_at_the_150th_anniversary_1876801621.html
Speech at the 150th anniversary of the Royal Institute of British Architects, Royal Gala Evening at Hampton Court Palace, 30 May, 1984.
1980s

Dallin H. Oaks photo

“It's wrong to criticize leaders of the church, even if the criticism is true.”

Dallin H. Oaks (1932) Apostle of the LDs Church

Part Two Transcript http://www.pbs.org/mormons/etc/script2.html, The Mormons, Dallin H. Oaks, 2007

Gunnar Myrdal photo

“A criticism of Keynes and Hayek would have to begin by pointing out the fact that in their theoretical systems there is no place for the uncertainty factor and anticipations.”

Gunnar Myrdal (1898–1987) Swedish economist

Source: Monetary Equilibrium (1939), p. 32; Cited in: Philip Pilkington, " Gunnar Myrdal’s Prescient Criticisms of Keynes’ General Theory http://fixingtheeconomists.wordpress.com/2013/08/10/gunnar-myrdals-prescient-criticisms-of-keynes-general-theory/" Posted on August 10, 2013

Jean-François Millet photo

“[Theophile] Gautier's article is very good. I begin to feel a little more contented. His remarks about my thick colours are also very just. The critics who see and judge my pictures are not forced to know that in painting them I am not guided by a definite intention, although I do my utmost to try and attain the aim which I have in sight, independently of methods. People are not even obliged to know why it is that I work in this way, with all its faults.”

Jean-François Millet (1814–1875) French painter

Quote of Millet in his letter of 23 March 1851; as quoted by Julia Cartwright in Jean Francois Millet, his Life and Letters, Swan Sonnenschein en Co, Lim. London / The Macmillian Company, New York; second edition, September 1902, p. 112
the most famous painting of Millet 'The Sower', reviewed in an article then by Gautier, was exhibited for the first time in 'The Salon' of Paris, at the End of 1850
1851 - 1870

Rosa Luxemburg photo
Charles Stross photo
Manuel Castells photo
Walt Disney photo

“We're not trying to entertain the critics … I'll take my chances with the public.”

Walt Disney (1901–1966) American film producer and businessman

As quoted in "Disneyland, 1955: Just Take the Santa Ana Freeway to the American Dream" by Karal Ann Marling, in American Art (Winter-Spring 1991)
Variant: We are not trying to entertain the critics. I'll take my chances with the public.

Hendrik Werkman photo

“the art-critic has provided the products of my lab with a (new) label: 'abracadabra'.... [but] one can not speak about abracadabra-ism, and that is its advantage on all –isms: it doesn't know time and limits and especially not the 'periods of time' [but] only seasons.... all -isms are dead, blown away, sprayed in the air, gone (here imagery does not fit, imagery is always wrong) - only for the 'abracadabra' is the future wall, the coming wall in the next house - how much the 'peinture' of other fabrics is curving and folding itself, polished or blown-up, it's all for nothing... We are not addressing those offspring but only the artists in this world..”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): de critiek heeft de producten van mijn laboratorium voorzien van een (nieuw) etiket: abracadabra.. ..van abacadabraïsme kan men niet spreken en dat is haar voorsprong op alle ismen: het kent geen tijd en geen grenzen en vooral geen 'perioden' [maar] slechts jaargetijden.. ..alle ismen zijn dood, verwaaid, verstoven, weg (hier past beeldspraak niet, beeldspraak is altijd valsch) slechts voor het abracadabra is de toekomstige wand, de komende wand in het komende huis hoe ook de peintuur van ander maaksel zich kromt en plooit, poets of opblaast, het is al om niet.. ..wij richten ons immers niet tot deze nakomers maar uitsluitend tot de artisten op deze globe..
Quote of Werkman from his 'Proclamatie / Procamation 2. Nov. 1932, published at nr. 13, at the left border of the river Aa'; print on paper; (transl. Fons Heijnsbroek) - from the collection of Gemeentemuseum The Hague
Werkman is referring to an article by nl:Johan Dijkstra in the 'Provinciale Groninger Courant' who called Werkman's art-works 'abacadraba', but meant in a rather positive sense, because Dijkstra missed it at the exhibition of De Ploeg, Autumn 1932
1930's

Robert Costanza photo
Henry Adams photo

“Material furnished by a government seldom satisfies critics or historians, for it lies always under suspicion.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The Education of Henry Adams (1907)

Robert Patrick (playwright) photo

“For people like us it is necessary to be a bit stronger, more self-critical, more observant than the usual run. Whether we happen to come already enhanced with these qualities, as some have claimed, or whether our situation invests them in us, we have traditionally - and we do have a long and proud tradition - been a little finer, a little firmer, more sensitive and flexible than others… There will be times when only your own spine can support you, moments when only your own wit can inspire you, days when nothing but exacting self-control can raise you from bed, nights when nothing but your word can impel you into society. But of all these disciplines, there is nothing you must hold to more sternly than to be kind and sympathetic. The easiest armor to put on is always cruelty. That armor will, indeed, see you through everything. Vicious condescension toward those without your strength can make you feel momentarily superior. But that easy armor must be forgone. Don't ever curdle that creamy brow with lines of easy disdain, or curl those lips with a popular sneer. Of all the models available, the one of gentleman in our late war is most succinct: Face what you have to face with humor, dignity, and style; protect yourself with knightly grace; have contempt for your own weakness and never encourage it in others; but never, Ralph, never for an instant permit yourself to feel anything other than pity and deepest sympathy for unfortunate comrades who have, after all, fallen in the same battle.”

Robert Patrick (playwright) (1937) Playwright, poet, lyricist, short story writer, novelist

One of Those People
Untold Decades: Seven Comedies of Gay Romance (1988)

Pauline Kael photo
Christopher Hitchens photo

“We know that the enemies of our civilization and of Arab-Muslim civilization have emerged from what is actually a root cause. The root cause is the political slum of client states from Saudi Arabia through Iraq, Pakistan and elsewhere, that has been allowed to dominate the region under U. S. patronage, and uses people and resources as if they were a gas station with a few flyblown attendants. To the extent that this policy, this mentality, has now changed in the administration, to the extent that their review of that is sincere and the conclusions that they draw from it are sincere, I think that should be welcomed. It's a big improvement to be intervening in Iraq against Saddam Hussein instead of in his favor. I think it makes a nice change. It's a regime change for us too. Now I'll state what I think is gonna happen. I've been in London and Washington a lot lately and all I can tell you is that the spokesmen for Mr. Blair and Mr. Bush walk around with a look of extraordinary confidence on their faces, as if they know something that when disclosed, will dissolve the doubts, the informational doubts at any rate, of people who wonder if there is enough evidence. [Mark Danner: It's amazing they've been able to keep it to themselves for so long. ] I simply say, I have two reasons for confidence. I know perfectly well that there are many people who would not be persuaded by this evidence even if it was dumped on their own doorstep, because the same people, many of the same people, didn't believe that it was worth fighting in Afghanistan even though the connection between the Taliban and Al Qaeda was as clear as could possibly be. So I know that. There's a strong faction of the so-called peace movement that is immune to evidence and also incapable of self criticism, of imagining what these countries would be like if the advice of the peaceniks has been followed. I also made some inquiries of my own, and I think I know what some of these disclosures will be. But, as a matter of fact I think we know enough. And what will happen will be this: The President will give an order, there will then occur in Iraq a show of military force like nothing probably the world has ever seen. It will be rapid and accurate and overwhelming enough to deal with an army or a country many times the size of Iraq, even if that country possessed what Iraq does not, armed forces in the command structure willing to obey and be the last to die for the supreme leader. And that will be greeted by the majority of Iraqi people and Kurdish people as a moment of emancipation, which will be a pleasure to see, and then the hard work of the reconstitution of Iraqi society and the repayment of our debt — some part of our debt to them — can begin. And I say, bring it on.”

Christopher Hitchens (1949–2011) British American author and journalist

"How Should We Use Our Power: A Debate on Iraq" http://www.commonwealthclub.org/archive/03/03-01hitchensdanner-qa.html with Mark Danner at UC Berkeley (2003-01-28}: On the 2003 invasion of Iraq
2000s, 2003

Samuel Taylor Coleridge photo
Erich Fromm photo
Donald Barthelme photo

“Self-criticism sessions were held, but these produced more criticism than could usefully be absorbed or accomodated.”

Donald Barthelme (1931–1989) American writer, editor, and professor

“The Crisis”.
Great Days (1979)

Joseph E. Stiglitz photo

“1. The standard neoclassical model the formal articulation of Adam Smith's invisible hand, the contention that market economies will ensure economic efficiency provides little guidance for the choice of economic systems, since once information imperfections (and the fact that markets are incomplete) are brought into the analysis, as surely they must be, there is no presumption that markets are efficient.
2. The Lange-Lerner-Taylor theorem, asserting the equivalence of market and market socialist economies, is based on a misguided view of the market, of the central problems of resource allocation, and (not surprisingly, given the first two failures) of how the market addresses those basic problems.
3. The neoclassical paradigm, through its incorrect characterization of the market economies and the central problems of resource allocation, provides a false sense of belief in the ability of market socialism to solve those resource allocation problems. To put it another way, if the neoclassical paradigm had provided a good description of the resource allocation problem and the market mechanism, then market socialism might well have been a success. The very criticisms of market socialism are themselves, to a large extent, criticisms of the neoclassical paradigm.
4. The central economic issues go beyond the traditional three questions posed at the beginning of every introductory text: What is to be produced? How is it to be produced? And for whom is it to be produced? Among the broader set of questions are: How should these resource allocation decisions be made? Who should make these decisions? How can those who are responsible for making these decisions be induced to make the right decisions? How are they to know what and how much information to acquire before making the decisions? How can the separate decisions of the millions of actors decision makers in the economy be coordinated?
5. At the core of the success of market economies are competition, markets, and decentralization. It is possible to have these, and for the government to still play a large role in the economy; indeed it may be necessary for the government to play a large role if competition is to be preserved. There has recently been extensive confusion over to what to attribute the East Asian miracle, the amazingly rapid growth in countries of this region during the past decade or two. Countries like Korea did make use of markets; they were very export oriented. And because markets played such an important role, some observers concluded that their success was convincing evidence of the power of markets alone. Yet in almost every case, government played a major role in these economies. While Wade may have put it too strongly when he entitled his book on the Taiwan success Governing the Market, there is little doubt that government intervened in the economy through the market.
6. At the core of the failure of the socialist experiment is not just the lack of property rights. Equally important were the problems arising from lack of incentives and competition, not only in the sphere of economics but also in politics. Even more important perhaps were problems of information. Hayek was right, of course, in emphasizing that the information problems facing a central planner were overwhelming. I am not sure that Hayek fully appreciated the range of information problems. If they were limited to the kinds of information problems that are at the center of the Arrow-Debreu model consumers conveying their preferences to firms, and scarcity values being communicated both to firms and consumers then market socialism would have worked. Lange would have been correct that by using prices, the socialist economy could "solve" the information problem just as well as the market could. But problems of information are broader.”

Source: Whither Socialism? (1994), Ch. 1 : The Theory of Socialism and the Power of Economic Ideas

Northrop Frye photo

“A literary critic of experience never defines anything.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

Source: "Quotes", Interviews with Northrop Frye (2008), p. 4

Pierre-Auguste Renoir photo

“If I was accused of neglecting my art, or sacrificing my ideas for the sake of stupid ambition, then I would understand the critics; but as that isn't the case, there is nothing to be said. I sent a picture to the Salon for purely commercial reasons. Anyway, it is like some medicines – even if it does no good, it does no harm.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

other impressionist artists then refused to send in their work to the Salon
Source: 1880's, Renoir – his life and work, 1975, p. 128 : in a letter to art-dealer Durand-Ruel, March 1881

Henry Hazlitt photo
Jay Samit photo

“The trouble with most entrepreneurs is that they would rather be ruined by praise than saved by criticism.”

Jay Samit (1961) American businessman

Source: Disrupt You! (2015), p.115

Wen Jiabao photo

“Shaw said that three years as a theatre critic was the maximum before insanity set in - the implication being that anyone who lasted longer than that was too dull to be unbalanced by his nightly ordeal.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Introduction'
Essays and reviews, Glued to the Box (1983)

Wen Jiabao photo

“Create the conditions for people to criticize the Government, to monitor the government, and at the same time to give full play to the supervisory role of the news media, so that the power to run under sunshine.(”

Wen Jiabao (1942) former Premier of the People's Republic of China

Wen Jiabao (2010) cited in: Government Work Report, National People's Congress cited in 如何「讓權力在陽光下運行」, 28 September 2008, BBC http://www.bbc.co.uk/zhongwen/trad/china/2010/03/100308_china_media_liu.shtml,

Joshua Lawrence Chamberlain photo

“The momentous meaning of this occasion impressed me deeply. I resolved to mark it by some token of recognition, which could be no other than a salute of arms. Well aware of the responsibility assumed, and of the criticisms that would follow, as the sequel proved, nothing of that kind could move me in the least. The act could be defended, if needful, by the suggestion that such a salute was not to the cause for which the flag of the Confederacy stood, but to its going down before the flag of the Union. My main reason, however, was one for which I sought no authority nor asked forgiveness. Before us in proud humiliation stood the embodiment of manhood: men whom neither toils and sufferings, nor the fact of death, nor disaster, nor hopelessness could bend from their resolve; standing before us now, thin, worn, and famished, but erect, and with eyes looking level into ours, waking memories that bound us together as no other bond;—was not such manhood to be welcomed back into a Union so tested and assured? Instructions had been given; and when the head of each division column comes opposite our group, our bugle sounds the signal and instantly our whole line from right to left, regiment by regiment in succession, gives the soldier's salutation, from the "order arms" to the old "carry"—the marching salute. Gordon at the head of the column, riding with heavy spirit and downcast face, catches the sound of shifting arms, looks up, and, taking the meaning, wheels superbly, making with himself and his horse one uplifted figure, with profound salutation as he drops the point of his sword to the boot toe; then facing to his own command, gives word for his successive brigades to pass us with the same position of the manual, honor answering honor. On our part not a sound of trumpet more, nor roll of drum; not a cheer, nor word nor whisper of vain-glorying, nor motion of man standing again at the order, but an awed stillness rather, and breath-holding, as if it were the passing of the dead!”

Joshua Lawrence Chamberlain (1828–1914) Union Army general and Medal of Honor recipient

The Passing of the Armies: An account of the Army of the Potomac, based upon personal reminiscences of the Fifth Army Corps (1915), p. 260

Herbert Hoover photo
Joseph Silk photo

“Four predictions of the Big Bang Theory have now been verified - surely enough to quench even the most biased critics.”

Joseph Silk (1942) British-American astronomer

Page 2.30
The Dark Side of the Universe, 2007

Donald Rumsfeld photo

“It recalls to mind the statement by Winston Churchill, something to the effect that: I have benefited greatly from criticism, and at no time have I suffered a lack thereof.”

Donald Rumsfeld (1932) U.S. Secretary of Defense

http://www.washingtonpost.com/wp-dyn/content/article/2006/11/08/AR2006110801579.html?nav=rss_politics
During the Nomination of Robert Gates for the next U.S. Secretary of Defense, November 8, 2006
2000s

Terry Eagleton photo

“The liberal state is neutral between capitalism and its critics until the critics look like they are winning.”

Terry Eagleton (1943) British writer, academic and educator

Source: 2010s, Why Marx Was Right (2011), Chapter 9, p. 197

Alfred North Whitehead photo
André Maurois photo
Orson Scott Card photo
Jordan Peterson photo

“The importance of imitation for the development of higher cognition in human beings: We embody ideas before we abstract them out and then represent them in an articulated way. What is the child doing when they play house? They are watching their parent over multiple instantiations, and then abstracting out the spirit called Mother, and that is whatever is mother-like across all those multiple manifestations, and then laying out that pattern internally and manifesting it in an abstract world. It's that you're smart enough to pull out the abstraction, and then embody it. And certainly the child is striving toward an ideal. If children don't engage in that kind of dramatic and pretend play to some tremendous degree, then they don't get properly socialized. It's really a critical element of developing self understanding and of also developing the capability of being with others, because what you do when you're a child, especially around the age of four is: you jointly construct a shared fictional world, and then you act out your joint roles within that shared fictional world. Embodied imitation and dramatic abstraction constituted the ground out of which higher abstract cognition emerged. How else could it be? Clearly we were mostly bodies before we were minds. Clearly. And so we were acting out things way before we understood them.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Source: https://www.youtube.com/watch?v=R_GPAl_q2QQ "Biblical Series III: God and the Hierarchy of Authority"

Courtney Love photo
Paulo Freire photo
Jesse Jackson photo

“Jesse Jackson came by and said he wants to endorse me. I look on this with some doubt, because he generally makes his living criticizing people, not supporting them.”

Jesse Jackson (1941) African-American civil rights activist and politician

Jimmy Carter, diary entry of September 8, 1980. http://www.politico.com/click/stories/1009/carters_celebrity_encounters_page2.html
About

George Steiner photo
Mao Zedong photo

“What is needed is scientific analysis and convincing argument. Dogmatic criticism settles nothing. We are against poisonous weeds of all kinds, but we must carefully distinguish between what is really a poisonous weed and what is really a fragrant flower. Together with the masses of the people, we must learn to differentiate carefully between the two and to use correct methods to fight the poisonous weeds.”

Mao Zedong (1893–1976) Chairman of the Central Committee of the Communist Party of China

VII: On "Let a Hundred Flowers Blossom Let a Hundred Schools of Thought Content" and "Long Term Coexistence and Mutual Supervision"
On the Correct Handling of Contradictions Among the People

Fernand Léger photo

“.. between ourselves, do you think a worker wants to hang a picture in his home where he sees himself sweating in a factory? He would prefer a bouquet of flowers or a pretty landscape. [Leger's critic on Aragon's Social Realism ]”

Fernand Léger (1881–1955) French painter

Quote, 1950, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 67
Quotes of Fernand Leger, 1950's

Phyllis Schlafly photo

“The worst censors are those prohibiting criticism of the theory of evolution in the classroom.”

Phyllis Schlafly (1924–2016) American activist

Time to End the Censorship, Phyllis Schlafly Columns, 2007-03-30, Schlafly, Phyllis, 2004-12-29 http://www.eagleforum.org/column/2004/dec04/04-12-29.html,

John Campbell Shairp photo

“Not as men of science, not as critics, not as philosophers, but as little children, shall we enter into the kingdom of heaven.”

John Campbell Shairp (1819–1885) British writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 332.

Arshile Gorky photo
Frederick Douglass photo
Carl Schmitt photo
Laisenia Qarase photo
P.G. Wodehouse photo

“Mere abuse is no criticism.”

Quick Service (1940)

Henry Adams photo
Baruch Spinoza photo

“In 1663 Spinoza published the only work to which he ever set his name… He had prepared a summary of the second part of Descartes' 'Principles of Philosophy' for the use of a pupil… Certain of Spinoza's friends became curious about this manual and desired him to treat the first part of Descartes' work also in the same manner. This was done within a fortnight and Spinoza was then urged to publish the book, which he readily agreed to do upon condition that one of his friends would revise the language and write a preface explaining that the author did not agree with all the Cartesian doctrine… The contents… [included] an appendix of 'Metaphysical Reflections,' professedly written from a Cartesian point of view, but often giving significant hints of the author's real divergence from Descartes….'On this opportunity,' he writes to Oldenburg, 'we may find some persons holding the highest places in my country… who will be anxious to see those other writings which I acknowledge for my own, and will therefore take such order that I can give them to the world without danger of any inconvenience. If it so happens, I doubt not that I shall soon publish something; if not, I will rather hold my peace than thrust my opinions upon men against the will of my country and make enemies of them.'… The book on Descartes excited considerable attention and interest, but the untoward course of public events in succeeding years was unfavourable to a liberal policy, and deprived Spinoza of the support for which he had looked….
If Spinoza had ever been a disciple of Descartes, he had completely ceased to be so… He did not suppose the geometrical form of statement and argument to be an infallible method of arriving at philosophical truth; for in this work he made use of it to set forth opinions with which he himself did not agree, and proofs with which he was not satisfied. We do not know to what extent Spinoza's manual was accepted or taken into use by Cartesians, but its accuracy as an exposition of Descartes is beyond question. One of the many perverse criticisms made on Spinoza by modern writers is that he did not understand the fundamental proposition cogito ergo sum. In fact he gives precisely the same explanation of it that is given by Descartes himself in the Meditations.”

Baruch Spinoza (1632–1677) Dutch philosopher

p, 125
Spinoza: His Life and Philosophy (1880)

Robert T. Kiyosaki photo

“Eleanor Roosevelt said it best: “Do what you feel in your heart to be right—for you’ll be criticized anyway. You’ll be damned if you do, and damned if you don’t.””

Robert T. Kiyosaki (1947) American finance author , investor

Rich Dad Poor Dad: What the Rich Teach Their Kids About Money-That the Poor and the Middle Class Do Not!

“In a tribal nation, he’s just one more partisan mobilizing his troops…. Mr. Shapiro has always been deeply conservative and does not pretend to be objective. But he says his market niche is giving cleareyed reads of current events, not purely partisan rants. He is often compared to his former colleague at, Milo Yiannopoulos. On the surface, they seem the same. Both speak on college campuses. Both draw protests. Both used to work for Mr. Bannon at Breitbart. Both are young. In fact, they are very different. Mr. Yiannopoulos, a protégé of Mr. Bannon, was good at shocking audiences, saying things like “feminism is cancer.” But critics say that he was empty of ideas, a kind of nihilistic rodeo clown who was not even conservative. Mr. Shapiro broke with Mr. Bannon last year, saying Breitbart had become a propaganda tool for Mr. Trump. Mr. Yiannopoulos’s act collapsed this year. But the fact that it lasted so long says a lot about the right’s fury against mainstream liberalism, Mr. Shapiro said…. But Mr. Shapiro does it too. He thinks it’s easy to provoke the left, which he says has become intellectually flabby after decades of cultural dominance. It’s not good at arguing and relies instead on taboos and punishing people who violate them. That is the essence of his stump speech…. Critics say that is great red meat for his audience, but it’s nonsense. Even if straight white males are low on the left’s pecking order, they have most of the power in Washington, in statehouses, in every corporate boardroom. They run America. Mr. Shapiro says he’s about more than tribal polemics.”

Sabrina Tavernise (1971) American journalist

Ben Shapiro, a Provocative ‘Gladiator,’ Battles to Win Young Conservatives https://www.nytimes.com/2017/11/23/us/ben-shapiro-conservative.html (November 23, 2017), '.

A. P. Herbert photo

“The critical period in matrimony is breakfast-time.”

"Is Marriage Lawful?"
Uncommon Law (1935)

Salvador Dalí photo
Paul Signac photo

“Frankly, this is my position: I have been painting for two years, and my only models have been your [ Monet's ] own works; I have been following the wonderful path you broke for us. I have always worked regularly and conscientiously, but without advice or help, for I do not know any impressionist painter who would be able to guide me, living as I am in an environment more or less hostile to what I am doing. And so I fear I may lose my way, and I beg you to let me see you, if only for a short visit. I should be happy to show you five or six studies; perhaps you would tell me what you think of them and give me the advice I need so badly, for the fact is that I have the most horrible doubts, having always worked by myself, without teacher, encouragement, or criticism.”

Paul Signac (1863–1935) French painter

In a letter to Claude Monet, 1880; quoted by Geffroy: Claude Monet, vol. I, p. 175; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 15
In 1880 an exhibition of the works of Claude Monet had - as Signac was to say later - 'decided his career,' - and after his first efforts as an impressionist Signac had ventured to appeal to Monet, writing him this sentence in his letter

“There is a certain justice in criticism. The critic is like a midwife — a tyrannical midwife.”

Stephen Spender (1909–1995) English poet and man of letters

Lecture at Brooklyn College, as quoted in The New York Times (20 November 1984)

Clement Attlee photo
Newton Lee photo
Northrop Frye photo

“What if criticism is a science as well as an art? Not a "pure" or "exact" science, of course, but these phrases belong to a nineteenth-century cosmology which is no longer with us.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction

Vladimir Putin photo
William Shenstone photo

“Every good poet includes a critic; the reverse will not hold.”

William Shenstone (1714–1763) English gardener

On Writing and Books

Manuel Castells photo

“Let me start a different/ analysis by recalling an idea from Max Weber. He characterized cultural modernity as the separation of the substantive reason expressed in religion and metaphysics into three autonomous spheres. They are science, morality and art. These came to be differentiated because the unified world-views of religion and metaphysics fell apart. Since the 18th century, the problems inherited from these older world-views could be arranged so as to fall under specific aspects of validity: truth, normative rightness, authenticity and beauty. They could then be handled as questions of knowledge, or of justice and morality, or of taste. Scientific discourse, theories of morality, Jurisprudence, and the production and criticism of art could in turn be institutionalized. Each domain of culture could be made to correspond to cultural professions in which problems could be dealt with as the concern of special experts. This professionalized treatment of the cultural tradition brings to the fore the intrinsic structures of each of the three dimensions of culture. There appear the structures of cognitive-instrumental, of moral-practical and of aesthetic-expressive rationality, each of these under the control of specialists who seem more adept at being logical in these particular ways than other people are. As a result, the distance grows between the culture of the experts and that of the larger public. What accrues to culture through specialized treatment and reflection does not immediately and necessarily become the property of everyday praxis. With cultural rationalization of this sort, the threat increases that the life-world, whose traditional substance has already been devalued, will become more and more impoverished.”

Manuel Castells (1942) Spanish sociologist (b.1942)

Source: Modernity — An Incomplete Project, 1983, p. 8-9

Leo Tolstoy photo
Arjo Klamer photo
Max Stirner photo
Louis Brownlow photo
Paul Krugman photo
Robert Rauschenberg photo
Leo Igwe photo
William James photo

“Who's ever heard of a singer criticized by his song?”

Four-Word Letter, Pt 2.
Catch For Us The Foxes (2004)

“At the 1992 Republican National Convention, Pat Buchanan called Democrats political cross-dressers for attempting portray themselves… as something they weren’t… Until recently, I had assumed he meant this as a criticism.”

David A. Ridenour, "Say it Ain't So, Pat," Tampa Tribune, November 21, 1995
Referring to Pat Buchanan's characterization of a 40% increase in Medicare spending over seven years as a "cut."

Jerry Goldsmith photo
Joni Madraiwiwi photo
W. H. Auden photo

“In general, when reading a scholarly critic, one profits more from his quotations than from his comments.”

"Reading", p. 9
The Dyer's Hand, and Other Essays (1962)

“When people thank and tell you how much you've helped them, what they say has nothing to do with you. This is just their way of expressing joy in their own experience. Remember this, too, when people complain or criticize.”

Ken McLeod (1948) Canadian lama

Wash Your Own Dishes http://musingsbyken.blogspot.com/2007/09/on-teaching.html. Musings Blog http://musingsbyken.blogspot.com. (2007-09-30). (Topic: Life)

Albert Kesselring photo
Carl Sagan photo
Paul Scholes photo

“I don't like compliments. No. I prefer criticisms; prefer to prove them wrong”

Paul Scholes (1974) English footballer

During an interview in the latter years of his career http://www.youtube.com/watch?v=-YOti0icEbw

Thomas Hardy photo

“You'd scarce expect one of my age
To speak in public on the stage;
And if I chance to fall below
Demosthenes or Cicero,
Don't view me with a critic's eye,
But pass my imperfections by.
Large streams from little fountains flow,
Tall oaks from little acorns grow.”

Lines written for a School Declamation, reported in Bartlett's Familiar Quotations, 10th ed. (1919). Compare: "The lofty oak from a small acorn grows", Lewis Duncombe (1711–1730), De Minimus Maxima (translation).

Robert Venturi photo
Roger Ebert photo

“I lost faith in the Oscars the first year I was a movie critic — the year that Bonnie and Clyde didn't win.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Playboy 20q http://www.playboy.com/magazine/20q_archive/siskel-and-ebert.html

Gore Vidal photo
Anatole France photo

“The good critic is one who tells of his mind's adventures among masterpieces.”

Anatole France (1844–1924) French writer

Le bon critique est celui qui raconte les aventures de son âme au milieu des chefs-d'œuvre.
Series II : M. Jules Lemaître
The Literary Life (1888-1892)