Scholarship has yielded to the irresistible pull that science exerts on our minds by its self-confidence and the promise of certified knowledge. But, to repeat, the objects of culture are not analyzable, not graspable by the geometric mind. Great works of art are great by virtue of being syntheses of the world; they qualify as art by fusing form and contents into an indivisible whole; what they offer is not “discourse about,” nor a cipher to be decoded, but a prolonged incitement to finesse. So it is paradoxical that our way of introducing young minds to such works should be the way of scholarship.
Jacques Barzun (1907-2012) French-American historian, educator, polymath
Essay (1989), “Culture High and Dry,” The Culture We Deserve (Source)
An earlier version of this essay was published as "Scholarship versus Culture," Atlantic Monthly (1984-11).
To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy. In its place, taxidermy can be a useful and decent craft. However, it goes too far when the specimens put on display are exhibitions of dead, stuffed cities.
Jane Jacobs (1916-2006) American-Canadian journalist, author, urban theorist, activist The Death and Life of Great American Cities, Part 4, ch. 19 (1961)
(Source)
When you start off, you have to deal with the problems of failure. You need to be thick skinned, to learn that not every project will survive. A freelance life, a life in the arts, is sometimes like putting messages in bottles, on a desert island, and hoping that someone will find one of your bottles and open it and read it, and put something in a bottle that will wash its way back to you: appreciation, or a commission, or money, or love. And you have to accept that you may put out a hundred things for every bottle that winds up coming back.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Speech (2012-05-17), Commencement, University of the Arts, Philadelphia [04:53]
(Source)
It is very good to copy what one sees; it is much better to draw what you can’t see any more but is in your memory. It is a transformation in which imagination and memory work together. You only reproduce what struck you, that is to say the necessary. There your memories and your fantasy are freed from the tyranny exercised by nature.
[C’est très bien de copier ce qu’on voit, c’est beaucoup mieux de dessiner ce que l’on ne voit plus que dans son mémoire. C’est une transformation pendant laquelle l’ingéniosité collabore avec la mémoire. Vous ne reproduisez que ce qui vous a frappé, c’est-à-dire le nécessaire. Là, vos souvenirs et votre fantaisie sont libérés de la tyrannie qu’exerce la nature.]
Edgar Degas (1834-1917) French Impressionist artist [b. Hilaire-Germain-Edgar De Gas]
Quoted in Georges Jeanniot, “Souvenirs sur Degas [Memories of Degas],” La Revue Universelle (1933-10-15)
(Source)
The quotation is often cited to Maurice Sérullaz, L'univers de Degas (1979), but Sérullaz says he is requoting Degas from Swiss-French Impressionist painter Pierre-Georges Jeanniot.
There are certain things in which mediocrity is intolerable: poetry, music, painting, public eloquence. What torture it is to hear a frigid speech being pompously declaimed, of second-rate verse spoken with all a bad poet’s bombast!
[Il y a de certaines choses dont la médiocrité est insupportable: la poésie, la musique, la peinture, le discours public. Quel supplice que celui d’entendre déclamer pompeusement un froid discours, ou prononcer de médiocres vers avec toute l’emphase d’un mauvais poète!]
Jean de La Bruyère (1645-1696) French essayist, moralist The Characters [Les Caractères], ch. 1 “Of Works of the Mind [Des Ouvrages de l’Esprit],” § 7 (1.7) (1688) [tr. Stewart (1970)]
(Source)
Several things are insupportable if they are but indifferent, as Poetry, Music, Painting and Public Speeches. 'Tis the worst punishment in the world to hear a dull Declamation deliver'd with Pomp and Solemnity, and bad Verses rehears'd with the Emphasis of a wretched Poet.
[Bullord ed. (1696)]
Somethings are insupportable if they are but indifferent, as Poetry, Musick, Painting, and Publick Speeches. What a Punishment is it to hear a cold Declamation deliver'd with Pomp and Solemnity, and indifferent Verses repeated with all the Emphasis of a bad Poet!
[Curll ed. (1713)]
Some things won't bear a Mediocrity, as Poetry, Musick, Painting and Oratory. What a cruel Torture is it to hear a dull Declamation delivered with Pomp and Solemnity, or bad Verses rehearsed with the Emphasis of a wretched Poet!
[Browne ed. (1752)]
In certain things mediocrity is unbearable, as in poetry, music, painting, and eloquence. How we are tortured when we hear a dull soliloquy delivered in a pompous tone, or indifferent verses read with all the emphasis of a wretched poet!
[tr. Van Laun (1885)]
There are some things that will not bear mediocrity; poetry, music, painting, oratory.
[tr. Lee (1903)]
The greatest artists have never been men of taste. By never sophisticating their instincts they have never lost the awareness of the great simplicities, which they relish both from appetite and from the challenge these offer to skill in competition with popular art.
Jacques Barzun (1907-2012) French-American historian, educator, polymath
Essay (1956), “Whirligig: Last Words on Berlioz,” The Energies of Art: Studies of Authors Classic and Modern,
(Source)
The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself. He has thrown himself completely into whatever it is that he is doing. A child playing a game, building a sand castle, painting a picture, is completely in what he is doing. His self-consciousness is gone; his consciousness is wholly focused outside himself.
Madeleine L'Engle (1918-2007) American writer A Circle of Quiet, ch. 1, sec. 3 (1972)
(Source)
Dore – Purgatorio, Canto 33 – Drinking from the Eunoe (1868)
Reader, had I the space to write at will, I should, if only briefly, sing a praise of that sweet draught. Would I were drinking still!
But I have filled all the pages planned for this, my second, canticle, and Art pulls at its iron bit with iron hand.
[S’io avessi, lettor, più lungo spazio da scrivere, i’ pur cantere’ in parte lo dolce ber che mai non m’avria sazio;
ma perché piene son tutte le carte ordite a questa cantica seconda, non mi lascia più ir lo fren de l’arte.]
Dante Alighieri (1265-1321) Italian poet The Divine Comedy [Divina Commedia], Book 2 “Purgatorio,” Canto 33, l. 136ff (3.136-141) (1314) [tr. Ciardi (1961)]
(Source)
On drinking from the Eunoë, Dante gets meta, breaking the Fourth Wall and, having self-imposed limits on the number of cantos per book and lines in each canto, he uses "Art" as an excuse to draw toward a conclusion.
On the other hand, Sayers notes that Dante "is almost unique among medieval writers" in restraining his writing: "one of the reasons for his enduring readableness."
If breath and vigour, by indulgent Heav'n,
To sing this bev'rage of the Gods were giv'n, What holy rapture would exalt my Song!
To tell the unexhausted sweets that flow
From that blest Fountain o'er the Vale below. And warm, with new desire, the votive Throng!
But now the Muse has run her fatal round,
And mark'd her Circle to the Second Bound.
[tr. Boyd (1802), st. 26-27]
Were further space allow’d,
Then, Reader, might I sing, though but in part,
That beverage, with whose sweetness I had ne’er
Been sated. But, since all the leaves are full,
Appointed for this second strain, mine art
With warning bridle checks me.
[tr. Cary (1814)]
Reader, had I but longer space to write, I might describe to thee, in part, the taste Of draught that's ever sweet, nor waste
The time; but leaves are all already full Appointed for the second canticle, Nor curb nor rein permit me use the will.
[tr. Bannerman (1850)]
If, Reader, I possessed a longer space For writing it, I yet would sing in part Of the sweet draught that ne'er would satiate me;
But inasmuch as full are all the leaves Made ready for this second canticle, The curb of art no farther lets me go.
[tr. Longfellow (1867)]
If I had, reader, longer space to write, I should sing, at all events in part, the sweet draught which never would have sated me; but, for that all the sheets put in frame for this second Canticle are full, the bridle of my art lets me go no further.
[tr. Butler (1885)]
Reader, if longer space to me were rated For writing, I would strive to sing in part That draught so sweet, which never could have sated.
But since is now completely filled the chart Allotted for this second book, there leaves No power to wander more the curb of Art.
[tr. Minchin (1885)]
If I had, Reader, longer space for writing I would yet partly sing the sweet draught which never would have sated me. But, because all the leaves destined for this second canticle are full, the curb of my art lets me go no further.
[tr. Norton (1892)]
If, reader, I had greater space for writing, I would sing, at least in part, of the sweet draught which never would have sated me; but forasmuch as all the pages ordained for this second canticle are filled, the curb of art no further lets me go.
[tr. Okey (1901)]
If, reader, I had more space to write I should sing but in part the sweet draught which never would have sated me; but since all the sheets prepared for this second cantica are full the curb of art does not let me go farther.
[tr. Sinclair (1939)]
If, Reader, for the writing were more space, That sweet fount, whence I ne'er could drink my fill, Would I yet sing, though in imperfect praise.
But seeing that for this second canticle The paper planned is full to the last page, The bridle of art must needs constrain my will.
[tr. Binyon (1943)]
If for my writing, Reader, I'd more space, I'd sing -- at least in part -- those sweets my heart Might aye have drunk nor e'er known weariness;
But since I've filled the pages set apart For this my second cantique, I'll pursue No further, bridled by the curb of art.
[tr. Sayers (1955)]
If, reader, I had greater space for writing I would yet partly sing the sweet draught which never would have sated me.
but since all the pages ordained for this second canticle are filled, the curb of art lets me go no further.
[tr. Singleton (1973)]
Reader, if I had space to write more words, I'd sing, at least in part, of that sweet draught which never could have satisfied my thirst;
But now I have completed every page planned for my poem's second canticle -- I am checked by the bridle of my art!
[tr. Musa (1981)]
If, reader, I had room to write more, My poem could still not tell you everything About the sweet drink of which I could never have had enough.
But since all the pages designed for this Second part of the poem have been filled, The rules of art stop me at this point.
[tr. Sisson (1981)]
If, reader, I had ampler space in which to write, I'd sing -- though incompletely -- that sweet draught for which my thirst was limitless;
but since all of the pages pre-disposed for this, the second canticle, are full, the curb of art will not let me continue.
[tr. Mandelbaum (1982)]
Reader, if I had more space to write, I would speak, partially at least, about that sweet drink, which would never have sated me: but because all the pages determined for the second Canticle are full, the curb of art lets me go no further.
[tr. Kline (2002)]
If, reader, I had more space to write, I would continue to sing in part the sweet drink that could never satiate me, but because all the pages are filled that have been laid out for this second canticle, the bridle of art permits me to go no further.
[tr. Durling (2003)]
If, reader, I'd more space in which to write, then I should sing in part about that drink, so sweet I’d never have my fill of it.
However, since these pages now are full, prepared by rights to take the second song, the reins of art won't let me pass beyond.
[tr. Kirkpatrick (2007)]
If, reader, I had more ample space to write, I should sing at least in part the sweetness of the drink that never would have sated me,
but, since all the sheets readied for this second canticle are full, the curb of art lets me proceed no farther.
[tr. Hollander/Hollander (2007)]
O reader, if I had the space to tell you More, I'd sing something about that sweetest Drink, no quantity of which could ever
End my thirst, but because the pages meant For this canto are already filled, my art prevents me, Affirming limits I am forced to meet.
[tr. Raffel (2010)]
Indeed, it is a cruel truth of the history of all art and literature that most would-be poets, writers, and painters fail. The man or woman of real talent is rare, the born genius rarer still. For every book that survives the merciless judgment of time, there are nine hundred and ninety-nine rotting unread in libraries and nine thousand and ninety-nine that were never written in the first place.
Michael Harrington (1928-1989) American writer, political activist, political scientist [Edward Michael Harrington, Jr.] Fragments of the Century, ch. 2 “The Death of Bohemia” (1973)
(Source)
It is erroneous to tie down individual genius to ideal models. Each person should do that, not which is best in itself, even supposing this could be known, but that which he can do best, which he will find out if left to himself. Spenser could not have written Paradise Lost, nor Milton the Faerie Queene. Those who aim at faultless regularity will only produce mediocrity, and no one ever approaches perfection except by stealth, and unknown to themselves.
William Hazlitt (1778-1830) English writer
“Thoughts on Taste,” Edinburgh Magazine (1819-07)
(Source)
Gene Fowler (1890-1960) American journalist, author, and dramatist. [b. Eugene Devlan]
Quoted in H. Allen Smith, The Life and Legend of Gene Fowler, ch. 27 (1977)
(Source)
Fowler was speaking about publisher deadlines. Others have used similar phrases regarding the creative process as a whole. See Valéry and Abram.
The most regretful people on earth are those who felt the call to creative work, who felt their own creative power restive and uprising, and gave to it neither power nor time.
Mary Oliver (1935-2019) American poet
“Of Power and Time,” Blue Pastures (1995)
(Source)
I have never been in any rich man’s house which would not have looked the better for having a bonfire made outside of it of nine-tenths of all that it held.
William Morris (1834-1896) British textile designer, writer, socialist activist
“The Art of the People,” speech, Birmingham Society of Arts (1879-02-19)
(Source)
It is the function of art to renew our perception. What we are familiar with we cease to see. The writer shakes up the familiar scene, and as if by magic, we see a new meaning in it.
Anaïs Nin (1903-1977) Catalan-Cuban-French author, diarist The Novel of the Future, ch. 2 “Abstraction” (1968)
(Source)
I think of Art, at its most significant, as a DEW line, a Distant Early Warning system, that can always be relied on to tell the old culture what is beginning to happen to it.
Marshall McLuhan (1911-1980) Canadian philosopher, communication theorist, educator
Quoted in Richard Schickel, “Marshall McLuhan: Canada’s Intellectual Comet,” Harper’s Magazine (1965-11)
(Source)
Based on "conversations" Schickel had with McLuhan.
Often cited to McLuhan's breakout work Understanding Media (1964) (e.g., here and here), but not found there.
Originality is a thing we constantly clamour for, and constantly quarrel with; as if, observes our author himself, any originality but our own could be expected to content us! In fact all strange thing are apt, without fault of theirs, to estrange us at first view, and unhappily scarcely anything is perfectly plain, but what is also perfectly common.
Thomas Carlyle (1795-1881) Scottish essayist and historian
“Jean Paul Friedrich Richter,” Edinburgh Review No. 91, Art. 7 (1827-06)
(Source)
A review of Heinrich Döring, Jean Paul Friedrich Richter's Life, with a Sketch of His Works (1826).
Great artists say that the most beautiful thing in the world is a little baby. Well, the next most beautiful thing is an old lady, for every wrinkle is a picture.
Will Rogers (1879-1935) American humorist
Radio broadcast (1930-05-11)
(Source)
The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artist’s way of scribbling “Kilroy was here” on the wall of the final and irrevocable oblivion through which he must someday pass.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
I feel that art has something to do with the achievement of stillness in the midst of chaos. A stillness that characterizes prayer, too, and the eye of the storm. I think that art has something to do with an arrest of attention in the midst of distraction.
Saul Bellow (1915-2005) Canadian-American writer
“The Art of Fiction: Saul Bellow,” interview by Gordon Lloyd Harper, The Paris Review (Winter 1966)
(Source)
Reprinted in Gloria Cronin and Ben Siegel, ed., Conversations with Saul Bellow (1994).
Come to think of it, I don’t know that love has a point, which is what makes it so glorious. Sex has a point, in terms of relief and, sometimes, procreation, but love, like all art, as Oscar said, is quite useless. It is the useless things that make life worth living and that make life dangerous too: wine, love, art, beauty. Without them life is safe, but not worth bothering with.
Stephen Fry (b. 1957) British actor, writer, comedian Moab Is My Washpot, “Falling In,” ch. 6 (1997)
(Source)
Referencing Oscar Wilde from the preface of The Picture of Dorian Gray (1890): "All art is quite useless".
The pleasures of the table — that lovely old-fashioned phrase — depict food as an art form, as a delightful part of civilized life. In spite of food fads, fitness programs, and health concerns, we must never lose sight of a beautifully conceived meal.
Julia Child (1912-2004) American chef and writer The Way to Cook, Introduction (1989)
(Source)
Life beats down and crushes the soul, and art reminds you that you have one.
Stella Adler (1901-1992) American actor and acting teacher
Quoted in Barry Paris, ed., Stella Adler on America’s Master Playwrights, Introduction (2012)
(Source)
The primary benefit of practicing any art, whether well or badly, is that it enables one’s soul to grow.
Kurt Vonnegut, Jr. (1922-2007) American novelist, journalist
“Despite Tough Guys, Life Is Not the Only School for Real Novelists,” New York Times (1999-05-24)
(Source)
Part of the Times "Writers on Writing" series.
In Man Without a Country, ch. 3 "Here Is a Lesson in Creative Writing" (2005), Vonnegut expanded on this:
Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.
Books aren’t just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable — but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.
Ursula K. Le Guin (1929-2018) American writer
Speech, accepting the National Book Foundation Medal (19 Nov 2014)
(Source)
On receiving the National Book Foundation Medal for Distinguished Contribution to American Letters at the 65th National Book Awards. Video of the speech.
Perhaps the meaning of all human activity lies in the artistic consciousness, in the pointless and selfless creative act? Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?
Andrei Tarkovsky (1932-1986) Russian film director, screenwriter, film theorist [Андрей Арсеньевич Тарковский] Sculpting in Time (1986) [tr. Hunter-Blair]
(Source)
Death is an endless night so awful to contemplate that it can make us love life and value it with such passion that it may be the ultimate cause of all joy and all art.
Paul Theroux (b. 1941) American novelist and travel writer
“D is for Death,” Hockney’s Alphabet (1991) [ed. Stephen Spender]
(Source)
Science and religion are two human enterprises sharing many features. They share these features also with other enterprises such as art, literature and music. The most salient features of all these enterprises are discipline and diversity. Discipline to submerge the individual fantasy in a greater whole. Diversity to give scope to the infinite variety of human souls and temperaments. Without discipline there can be no greatness. Without diversity there can be no freedom. Greatness for the enterprise, freedom for the individual — these are the two themes, contrasting but not incompatible, that make up the history of science and the history of religion.
Freeman Dyson (1923-2020) English-American theoretical physicist, mathematician, futurist Infinite in All Directions, Part 1, ch. 1 “In Praise of Diversity” (1988)
(Source)
Based on a lecture on "Science and Religion," National Conference of Catholic Bishops, Detroit (Sep 1986).
Never try to convey your idea to the audience — it is a thankless and senseless task. Show them life, and they’ll find within themselves the means to assess and appreciate it.
Andrei Tarkovsky (1932-1986) Russian film director, screenwriter, film theorist [Андрей Арсеньевич Тарковский] Sculpting in Time (1986) [tr. Hunter-Blair]
The man who has stolen in order never to thieve again remains a thief. Nobody who has ever betrayed his principles can have a pure relationship with life. Therefore when a film-maker says he will produce a pot-boiler in order to give himself the strength and the means to make the film of his dreams — that is so much deception, or worse, self-deception. He will never now make his film.
Andrei Tarkovsky (1932-1986) Russian film director, screenwriter, film theorist [Андрей Арсеньевич Тарковский] Sculpting in Time (1986) [tr. Hunter-Blair]
(Source)
Marshall McLuhan (1911-1980) Canadian philosopher, communication theorist, educator The Medium is the Massage: An Inventory of Effects (1967) [with Quentin Fiore]
(Source)
Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake.
Andrei Tarkovsky (1932-1986) Russian film director, screenwriter, film theorist [Андрей Арсеньевич Тарковский] Sculpting in Time (1986) [tr. Hunter-Blair]
(Source)
The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as an example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.
Andrei Tarkovsky (1932-1986) Russian film director, screenwriter, film theorist [Андрей Арсеньевич Тарковский] Sculpting in Time (1986) [tr. Hunter-Blair]
(Source)
The relation between the artist and reality is an oblique one, and indeed there is no good art which is not consciously oblique. If you respect the reality of the world, you know that you can approach that reality only by indirect means.
Richard Wilbur (1921-2017) American poet, literary translator
“The Bottles Become New, Too” (1953), Responses: Prose Pieces, 1953-1976 (1976)
(Source)
Originally published in Quarterly Review of Literature, Vol. 7, No. 3 (1953).
Simplicity is the final achievement. After one has conquered all the difficulties, after one has played a vast quantity of notes and more notes, it is simplicity that emerges in all its charm as the crowning reward of art. Whoever wants to obtain this immediately will never achieve it: you can’t begin with the end. One has to have studied a lot, tremendously, to reach this goal; it’s no easy matter.
[La dernière chose c’est la simplicité. Après avoir épuisé toutes les difficultés, après avoir joué une immense quantité de notes, et de notes, c’est la simplicité qui sort avec tout son charme, comme le dernier sceau de l’art. Quiconque veut arriver de suite à cela n’y parviendra jamais, on ne peut commencer par la fin. II faut avoir étudié beaucoup, mème immensement pour atteindre ce but, ce n’est pas une chose facile.]
Frédéric Chopin (1810-1849) Polish composer and pianist
In the diary of Friederike Streicher (née Müller) (1840-04-21)
(Source)
When told by Müller that what impressed her most about Franz Liszt's playing was his "calmness in overcoming the greatest technical difficulties." Müller was a premiere student of Chopin, 1839-41. Excerpts from her diary are printed in Frederick Niecks, Frederick Chopin: As A Man and Musician, Vol. 2, Appendix 3 (1888).
The reason I can’t take myself seriously as a “creative artist,” Guy dear, is because I’m not one. It’s not somehow not in me to bear very patiently with my own mediocrity. If I can’t — and I can’t — be Shakespeare or Goethe, I’d rather raise good cabbages. And that is why I would not write at all, except that there is more money in writing than in cabbages, not only more money, but more freedom. […] This is why I’m not “filled with my art.” I ain’t got no art. I’ve got only a kind of craftsman’s skill, and make stories as I make biscuits or embroider underwear or wrap up packages.
Rose Wilder Lane (1886-1968) American journalist, travel writer, novelist, political theorist
Letter to Guy Moyston (25 Jun 1925)
(Source)
Quoted in William Holtz, The Ghost in the Little House: A Life of Rose Wilder Lane, ch. 9, sec. 5 (1995).
I, having built a house, reject
The feud of eye and intellect,
And find in my experience proof
One pleasure runs from root to roof,
One thrust along a streamline arches
The sudden star, the budding larches.
The force that makes the winter grow
Its feathered hexagons of snow,
and drives the bee to match at home
Their calculated honeycomb,
Is abacus and rose combined.
An icy sweetness fills my mind,
A sense that under thing and wing
Lies, taut yet living, coiled, the spring.
Jacob Bronowski (1908-1974) Polish-English humanist and mathematician
“The Abacus and the Rose” [Potts], Science and Human Values (1965 ed.)
(Source)
It is true that most madboy devices are built for purely utilitarian purposes: I want to go faster; How can one person stack all of these starfish; I will gain the respect of my peers if I can turn this entire town into ham, and so on. But there are some things that burst forth from their creator’s brain simply because they want to make the world more aesthetically pleasing. So what if it doesn’t help one conquer the world? It looks awesome. It’s Art.
Phil Foglio (b. 1956) American writer, cartoonist Agatha H. And the Clockwork Princess (2012) [with Kaja Foglio]
(Source)
Popular art is normally decried as vulgar by the cultivated people of its time; then it loses favour with its original audience as a new generation grows up; then it begins to merge into the softer lighting of “quaint” and cultivated people become interested in it, and finally it begins to take on the archaic dignity of the primitive.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist Anatomy of Criticism, “Mythical Phase: Symbol as Archetype” (1957)
(Source)
Physics is an organized body of knowledge about nature, and a student of it says that he is learning physics, not nature. Art, like nature, has to be distinguished from the systematic study of it, which is criticism.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist Anatomy of Criticism, “Polemical Introduction” (1957)
(Source)
Those who are concerned with the arts are often asked questions, not always sympathetic ones, about the use or value of what they are doing. It is probably impossible to answer such questions directly, or at any rate to answer the people who ask them.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist Anatomy of Criticism, “Polemical Introduction” (1957)
(Source)
Every work of art is one half of a secret handshake, a challenge that seeks the password, a heliograph flashed from a tower window, an act of hopeless optimism in the service of bottomless longing. Every great novel or comic book convenes the first meeting of a fan club whose membership stands forever at one but which maintains chapters in every city — in every cranium — in the world. Art, like fandom, asserts the possibility of fellowship in a world built entirely from the materials of solitude.
Michael Chabon (b. 1963) American author
“The Loser’s Club,” Manhood for Amateurs (2000)
(Source)
My definition of art is anything you do after the chores are done, and in that definition of art, Ron Jeremy, Picasso, and the mall Santa all have the exact same job.
Penn Jillette (b. 1955) American stage magician, actor, musician, author
Interview by Katherine Mangu-Ward, Reason (Jan 2017)
(Source)
There is a lot of folklore about equestrian statues, especially the ones with riders on them. There is said to be a code in the number and placement of the horse’s hooves: If one of the horse’s hooves is in the air, the rider was wounded in battle; two legs in the air means that the rider was killed in battle; three legs in the air indicates that the rider got lost on the way to the battle; and four legs in the air means that the sculptor was very, very clever. Five legs in the air means that there’s probably at least one other horse standing behind the horse you’re looking at; and the rider lying on the ground with his horse lying on top of him with all four legs in the air means that the rider was either a very incompetent horseman or owned a very bad-tempered horse.
Terry Pratchett (1948-2015) English author I Shall Wear Midnight (2010)
(Source)
You are astonished to find yourself the butt of so much calumny, opposition, indifference and ill-will. You will be more so and have more of it; it is the reward of the good and the beautiful: one may calculate the value of a man from the number of his critics and the importance of a work by the evil said of it.
Gustave Flaubert (1821-1880) French writer, novelist
Letter to Louise Colet (14 Jun 1853) [tr. Hannigan (1896)]
(Source)
Alternate translation: "You can calculate the worth of a man by the number of his enemies, and the importance of a work of art by the harm that is spoken of it." [Source]
Having a large audience does not, of course, prove that something is necessarily good. I subscribe to the theory that only a creation that speaks to succeeding generations can truly be labeled art.
Charles Schulz (1922-2000) American cartoonist
“My Life and Art with Charlie Brown and Others,” My Life with Charlie Brown (2010) [ed. Inge]
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No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell.
Antonin Artaud (1896-1948) French playwright, actor, director Van Gogh, the Man Suicided by Society [Le Suicidé de la Société] (1947) [tr. Watson]
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Artists and scientists realize that no solution is ever final, but that each new creative step points the way to the next artistic or scientific problem. In contrast, those who embrace religious revelations and delusional systems tend to see them as unshakeable and permanent.
Anthony Storr (1920-2001) English psychiatrist and author Feet of Clay: Saints, Sinners and Madmen, Introduction (1996)
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Stealing, of course, is a crime, and a very impolite thing to do. But like most impolite things, it is excusable under certain circumstances. Stealing is not excusable if, for instance, you are in a museum and you decide that a certain painting would look better in your house, and you simply grab the painting and take it there. But if you were very, very hungry, and you had no way of obtaining money, it might be excusable to grab the painting, take it to your house, and eat it.
Lemony Snicket (b. 1970) American author, screenwriter, musician (pseud. for Daniel Handler) The Wide Window (2000)
In religions which have lost their creative spark, the gods eventually become no more than poetic motifs or ornaments for decorating human solitude and walls.
Nikos Kazantzakis (1883-1957) Greek writer and philosopher Zorba the Greek, ch. 12 (1946)
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Beauty, like truth and goodness, is a quality that may in one sense be predicated of all great art, but the deliberate attempt to beautify can, in itself, only weaken the creative energy. Beauty in art is like happiness in morals: it may accompany the act, but it cannot be the goal of the act, just as one cannot “pursue happiness,” but only something else that may give happiness.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist Anatomy of Criticism, “Mythical Phase: Symbol as Archetype” (1957)
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It is the artists who make the true value of the world, though at times they may have to starve to do it. They are like earthworms, turning up the soil so things can grow, eating dirt so that the rest of us may eat green shoots.
Erica Jong (b. 1942) American writer, poet Serenissima, ch. 4 (1987)
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All art is propaganda. It is universally and inescapably propaganda; sometimes unconsciously, but often deliberately, propaganda.
As commentary on the above, we add, that when artists or art critics make the assertion that art excludes propaganda, what they are saying is that their kind of propaganda is art, and other kinds of propaganda are not art. Orthodoxy is my doxy, and heterodoxy is the other fellow’s doxy.
Upton Sinclair (1878-1968) American writer, journalist, activist, politician Mammonart, ch. 2 “Who Owns the Artists?” (1925)
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A work of art has an author and yet, when it is perfect, it has something which is essentially anonymous about it.
Simone Weil (1909-1943) French philosopher Gravity and Grace [La Pesanteur et la Grâce], “Beauty” (1947) [ed. Thibon] [tr. Crawford/von der Ruhr (1952)]
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An artist’s job is to make order out of chaos. You collect details, look for a pattern, and organize. You make sense out of senseless facts. You puzzle together bits of everything. You shuffle and reorganize. Collage. Montage. Assemble.
Chuck Palahniuk (b. 1962) American novelist and freelance journalist Diary (2003)
Every great work of art has two faces: one toward its own time and one toward the future, toward eternity.
Daniel Barenboim (b. 1942) Argentine-Israeli pianist and conductor
Quoted in the International Herald Tribune (20 Jan 1989)
The above is sometimes cited to his collaborative dialog with Edward Said, Parallels and Paradoxes (2002), but the passage there is slightly different: "I think that every great work of art has two faces: one toward its own time and one toward eternity."
Leonardo’s Mona Lisa is just a thousand thousand smears of paint. Michelangelo’s David is just a million hits with a hammer. We’re all of us a million bits put together the right way.
Chuck Palahniuk (b. 1962) American novelist and freelance journalist Diary (2003)
A work of art does not answer questions: it provokes them; and its essential meaning is in the tension between their contradictory answers.
Leonard Bernstein (1918-1990) American conductor, composer, author, music lecturer, pianist
“A Sabbatical Report,” sec. 1, New York Times (24 Oct 1965)
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In art, there are only two types of people: revolutionaries and plagiarists. And in the end, doesn’t the revolutionary’s work become official, once the State takes it over?
Paul Gauguin (1848-1903) French painter [Eugène Henri Paul Gauguin]
Letter in Le Soir (25 Apr 1895)
Collected in Daniel Guérin, ed., The Writings of a Savage (1996) [tr. Levieux].
Often given as "Art is either plagiarism or revolution," or sometimes "Art is either a revolutionist or a plagiarist." This is often cited from James Huneker, The Pathos of Distance (1913), but there it is given as a paraphrase: "Paul Gauguin has said that in art one is either a plagiarist or a revolutionary."
(Huneker's book elsewhere contains the parallel paraphrase, "Paul Gauguin has said that all artists are either revolutionists or reactionists.")
TANNER: The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art.
George Bernard Shaw (1856-1950) British playwright and critic Man and Superman, Act 1 (1903)
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My feeling about technique in art is that it has about the same value as technique in love-making. That is to say, on the one hand, heartfelt ineptitude has its appeal and, on the other hand, so does heartless skill; but what you want is passionate virtuosity.
John Barth (b. 1930) American writer
“An Interview with John Barth,” by Alan Prince and Ian Carruthers, Prism (Spring 1968)
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The quotation from the interview (originally credited only to Prince) was also included in the inside dust cover of Barth's short story collection, Lost in the Funhouse (1968), and is sometimes cited to that book.
The longer quote was paraphrased to the form in the graphic above on the dust cover of Charles B. Harris, Passionate Virtuosity: The Fiction of John Barth (1983):
In art as in lovemaking, heartfelt ineptitude has its appeal and so does heartless skill, but what you want is passionate virtuosity.
Art is an adventure. When it ceases to be an adventure, it ceases to be art.
Robert Ardrey (1908-1980) American playwright, screenwriter and science writer
The Hunting Hypothesis: A Personal Conclusion Concerning the Evolutionary Nature of Man (1976)
To give people pleasure in the things they must perforce use, that is one great office of decoration; to give people pleasure in the things they must perforce make, that is the other use of it.
William Morris (1834-1896) British textile designer, writer, socialist activist
“The Decorative Arts: Their Relation to Modern Life and Progress,” Lecture (4 Dec 1877)
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Morris' first public lecture. Later published as "The Lesser Arts" in Hopes and Fears for Art (1882).
Simplicity of life, even the barest, is not a misery, but the very foundation of refinement: a sanded floor and whitewashed walls, and the green trees, and flowery meads, and living waters outside; or a grimy palace amid the smoke with a regiment of housemaids always working to smear the dirt together so that it may be unnoticed; which, think you, is the most refined, the most fit for a gentleman of those two dwellings?
William Morris (1834-1896) British textile designer, writer, socialist activist
“The Prospects of Architecture in Civilization,” speech, London (10 Mar 1880)
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There is a contingent of the digital-effects community to whom that is the holy grail — to create photographically real humans. To me that is the dumbest goal that you could possibly have. What’s wonderful about the medium of animation isn’t recreating reality. It’s distilling it.
Brad Bird (b. 1957) American director, animator and screenwriter [Phillip Bradley Bird]
“How Pixar Conquered the Planet,” The Guardian (12 Nov 2004)
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The greatest foe to art is luxury, art cannot live in its atmosphere.
William Morris (1834-1896) British textile designer, writer, socialist activist
“The Beauty of Life,” lecture, Birmingham Society of Arts and School of Design (19 Feb 1880)
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ANTON EGO: In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so.
Brad Bird (b. 1957) American director, animator and screenwriter [Phillip Bradley Bird] Ratatouille (2007)
The art object is always passive in relation to its audience. It is alarmingly active, however, in relation to its creator. Far from being like a receptacle in which you, the artist, drop your ideas, and far from being like a lump of clay which you pummel until it fits your notion of an ashtray, the art object is more like an enthusiastic and ill-trained Labrador retriever which yanks you into traffic.
Annie Dillard (b. 1945) American author Living by Fiction (1983)
(Source)
Often paraphrased, "Art is like an ill-trained Labrador retriever that drags you out into traffic."
That the beauty of life is a thing of no moment, I suppose few people would venture to assert, and yet most civilized people act as if it were of none, and in so doing are wronging themselves and those that are to come after them; for that beauty, which is what is meant by art, using the word in its widest sense, is, I contend, no mere accident to human life, which people can take or leave as they choose, but a positive necessity of life, if we are to live as nature meant us to; that is, unless we are content to be less than men.
William Morris (1834-1896) British textile designer, writer, socialist activist
“The Beauty of Life,” lecture, Birmingham Society of Arts and School of Design (19 Feb 1880)
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If you explain the basics of any one of these ideas, they probably will sound as nutty as a cooking French rat or a silent film starring robots in a post-apocalyptic world. Each one of those films, when we were in preparation on them, the financial community said each one of them stunk and none of them had the ability to be a financial success. And then the film would come out and they’d go, “Well, they did it that time but the next one sounds like a piece of crap.”
Brad Bird (b. 1957) American director, animator and screenwriter [Phillip Bradley Bird]
Interview with Drew Tailor, IndieWire (20 Dec 2011)
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Our golden rule: Have nothing in your houses that you do not know to be useful or believe to be beautiful.
William Morris (1834-1896) British textile designer, writer, socialist activist
“The Beauty of Life,” lecture, Birmingham Society of Arts and School of Design (19 Feb 1880)
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Life is not only full of sound and fury. It also has butterflies, flowers, art.
Claude Simon (1913-2005) French novelist, critic, Nobel Laureate (Literature)
“The Art of Fiction,” #128, Interview with A. Eyle, The Paris Review (Spring 1992)
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Detective inspector John “Call me Jack, everyone does” Robinson did not like theatres. Bit of a night out at the variety or even the Tiv was fair enough, but ever since a high-minded relative had forced him to sit through an Ibsen festival at an impressionable age, theatres had always been synonymous with what he called ‘high art’, a portmanteau term for everything self-indulgent, terminally tedious and incomprehensible in the world of culture.
Kerry Greenwood (b. 1954) Australian author and lawyer Ruddy Gore, ch. 3 (1995)
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I suppose we think euphemistically that all writers write because they have something to say that is truthful and honest and pointed and important. And I suppose I subscribe to that, too. But God knows when I look back over thirty years of professional writing, I’m hard-pressed to come up with anything that’s important. Some things are literate, some things are interesting, some things are classy, but very damn little is important.
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
“Rod Serling: The Facts of Life,” interview by Linda Brevelle (4 Mar 1975)
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Christopher Columbus discovered the West Indies, and Alexander Graham Bell invented the telephone. We do not call their achievements creations because they are not personal enough. The West Indies were there all the time; and as for the telephone, we feel that Bell’s ingenious thought was somehow not fundamental. The groundwork was there, and if not Bell then someone else would have stumbled on the telephone almost as accidentally as on the West Indies.
By contrast, we feel that Othello is genuinely a creation. This is not because Othello came out of a clear sky; it did not. There were Elizabethan dramatists before William Shakespeare, and without them he could not have written as he did. Yet within their tradition Othello remains profoundly personal; and though every element in the play has been a theme of other poets, we know that the amalgam of these elements is Shakespeare’s; we feel the presence of his single mind. The Elizabethan drama would have gone on without Shakespeare, but no one else would have written Othello.
Jacob Bronowski (1908-1974) Polish-English humanist and mathematician
“The Creative Process,” Scientific American (Sep 1958)
The test of a religion or philosophy is the number of things it can explain: so true it is. But the religion of our churches explains neither art not society nor history, but itself needs explanation.
Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Journal (1838)
There was really only one thing for her to say, those three words that all the terrible art, the worst pop songs and movies, the most seductive lies, can somehow never cheapen. I love you.
Ian McEwan (b. 1948) English novelist and screenwriter
“Only love and then oblivion,” The Guardian (15 Sep 2001)
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You should make something. You should bring something into the world that wasn’t in the world before. It doesn’t matter what it is. It doesn’t matter if it’s a table or a film or gardening — everyone should create. You should do something, then sit back and say, “I did that.”
Ricky Gervais (b. 1961) English comedian, actor, director, writer
Interview with Scott Raab, Esquire (12 Jan 2012)
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Variant: "If you spend your days doing what you love, it is impossible to fail. So I go about my days trying to bring something into the world that wasn’t in the world before. And then everyone gets furious about it. And then I sit back and say, 'I did that!'" [Biography interview (11 Jan 2016)]
I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood.
Audre Lorde (1934-1992) American writer, feminist, civil rights activist
“The Transformation of Silence into Language and Action,” speech, Modern Language Association (28 Dec 1977)
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When I was introduced to art school, everybody was 20, 22, and 25 years old. Many of them had graduated from college. So there I was, and I was about half their height. And I looked at these guys and I thought, “I can’t compete with these birds!” So at the end of the first week I went home. I was so disillusioned. I was a failure at 15. So my uncle, who lived with us occasionally, came up and he said, “You look awful. You look like something the dog had under the front porch. What’s the matter?” “I can’t compete with these guys at school. They draw like Leonardo da Vinci. I’ll never catch up with them.” I felt like it was the end of the world for me. I could draw a little bit. But I couldn’t keep up with the big guys. So I suddenly blurted out and I said, “You can’t make a racehorse out of a pig!” And my uncle looked at me very gently, and he patted me on the knee, and he said, “No. But you can make a very fast pig.” And I realized that’s what it was really all about. I could only be as good as I could be, whatever my limits were. And I learned a second thing: creative work is never competitive.
Chuck Jones (1912-2002) American animator, screenwriter, producer, and director
Interview with Tom Sito, Archive of American Television (17 Jun 1998)
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Orson Welles (1915-1985) American writer, director, actor
Comment to Henry Jaglom
Quoted by Jaglom in his essay "The Independent Filmmaker" in Jason E. Quire, ed. The Movie Business Book (1992). See here for more information. Sometimes paraphrased in reverse ("The absence of limitations is the enemy of art").
First Shakespeare sonnets seem meaningless; first Bach fugues, a bore; first differential equations, sheer torture. But training changes the nature of our spiritual experiences. In due course, contact with an obscurely beautiful poem, an elaborate piece of counterpoint or of mathematical reasoning, causes us to feel direct intuitions of beauty and significance. It is the same in the moral world.
Aldous Huxley (1894-1963) English novelist, essayist and critic Ends and Means (1937)
‘Patriotism is not enough.’ But neither is anything else. Science is not enough, religion is not enough, art is not enough, politics and economics are not enough, nor is love, nor is duty, nor is action however disinterested, nor, however sublime, is contemplation. Nothing short of everything will really do.
Aldous Huxley (1894-1963) English novelist, essayist and critic The Island, “Notes on What’s What” (1962)
JOYCE: An artist is the magician put among men to gratify — capriciously — their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist’s touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships —– and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes — husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer.
Tom Stoppard (b. 1937) Czech-English playwright and screenwriter Travesties. Act 1 (1974)
Stoppard called this "the most important" speech in the play.
There is nothing that I tell you with more eager desire that you should believe — nothing with wider ground in my experience for requiring you to believe, than this, that you never will love art well, till you love what she mirrors better.
John Ruskin (1819-1900) English art critic, painter, writer, social thinker Eagle’s Nest, Lecture 3, “Relation of Wise Art to Wise Science,” sec. 41 (15 Sep 1872)
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Paradox though it may seem — and paradoxes are always dangerous things — it is none the less true that life imitates art far more than art imitates life.
Oscar Wilde (1854-1900) Irish poet, wit, dramatist
“The Decay of Lying: A Dialogue,” Littell’s Living Age (16 Feb 1889)
Human beings can be beautiful. If they are not beautiful it is entirely their own fault. It is what they do to themselves that makes them ugly. The longer I live the more beautiful life becomes. If you foolishly ignore beauty, you will soon find yourself without it. Your life will be impoverished. But if you invest in beauty, it will remain with you all the days of your life.
Frank Lloyd Wright (1867-1959) American architect, interior designer, writer, educator [b. Frank Lincoln Wright]
(Attributed)
Richard found himself, on otherwise sensible weekends, accompanying her to places like the National Gallery and the Tate Gallery, where he learned that walking around museums too long hurts your feet, that the great art treasures of the world all blur into each other after a while, and that it is almost beyond the human capacity for belief to accept how much museum cafeterias will brazenly charge for a slice of cake and a cup of tea.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist Neverwhere, ch. 1 (1996)
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Pierre-Auguste Renoir (1841-1919) French Impressionist artist
(Attributed, 1919)
(Source)
Quoted in Sisley Huddleston, Paris Salons, Cafés, Studios (1928). When asked by a young Henri Matisse why he still painted when suffering from painful, twisting arthritis in his hands.
The truth is, as every one knows, that the great artists of the world are never Puritans, and seldom even ordinarily respectable. No virtuous man — that is, virtuous in the Y.M.C.A. sense — has ever painted a picture worth looking at, or written a symphony worth hearing, or a book worth reading.
H. L. Mencken (1880-1956) American writer and journalist [Henry Lewis Mencken]
“The Blushful Mystery: Art and Sex,” Prejudices: First Series (1919)
One picture in ten thousand, perhaps, ought to live in the applause of mankind, from generation to generation until the colors fade and blacken out of sight or the canvas rot entirely away.
Nathaniel Hawthorne (1804-1864) American writer The Marble Faun (1860)
Art is a jealous mistress, and, if a man have a genius for painting, poetry, music, architecture, or philosophy, he makes a bad husband and an ill provider.
Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
“Wealth,” The Conduct of Life, ch. 3 (1860)
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Life is sometimes hard. Things go wrong, in life and in love and in business and in friendship and in health and in all the other ways that life can go wrong. And when things get tough, this is what you should do. Make. good. art. I’m serious. Husband runs off with a politician? Make good art. Leg crushed and then eaten by mutated boa constrictor? Make good art. IRS on your trail? Make good art. Cat exploded? Make good art. Somebody on the Internet thinks what you do is stupid or evil or it’s all been done before? Make good art. Probably things will work out somehow, and eventually time will take the sting away, but that doesn’t matter. Do what only you do best. Make. good. art. Make it on the good days too.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Speech (2012-05-17), Commencement, University of the Arts, Philadelphia [10:08]
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(Source (Video)). In the video, he starts it as "Sometimes life is hard." In the middle, he says it as, "Somebody on the Internet thinks what you're doing ..." He also adds "Make it on the bad days" before the final sentence.
Perfect works are rare, because they must be produced at the happy moment when taste and genius unite; and this rare conjuncture, like that of certain planets, appears to occur only after the revolution of several cycles, and only lasts for an instant.
François-René de Chateaubriand (1768-1848) French writer, politican, diplomat
(Attributed)
(Source)
Quoted in James Wood, Dictionary of Quotations from Ancient and Modern, English and Foreign Sources (1893).
The work is an absolute necessity for me. I can’t put it off, I don’t care for anything but the work; that is to say, the pleasure in something else ceases at once and I become melancholy when I can’t go on with my work. Then I feel like a weaver who sees that his threads are tangled, and the pattern he had on the loom is gone to hell, and all his thought and exertion is lost.
Vincent van Gogh (1853-1890) Dutch painter
Letter to Theo Van Gogh (3 Jun 1883)
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Quoted in A. Lubin, Stranger on the Earth : A Psychological Biography of Vincent Van Gogh (1996). Alternate transalations:
For me, the work is an absolute necessity. I cannot put it off; I don't care for anything else; that is to say, the pleasure in something else ceases at once, and I become melancholy when I cannot go on with my work. I feel then as the weaver does when he sees that his threads have got tangled, the pattern he had on the loom has gone to the deuce, and his exertion and deliberation are lost.
[In I. & J. Stone, ed., Dear Theo: the Autobiography of Vincent Van Gogh (1995)]
For me work is an absolute necessity, indeed I can’t really drag it out, I take no more pleasure in anything than in work, that’s to say, pleasure in other things stops immediately and I become melancholy if I can’t get on with the work. Then I feel like a weaver when he sees his threads getting tangled and the pattern that he had on the loom going to the devil and his thought and effort coming to nothing.
[tr. VanGoghLetters.org]
It is reasonable to assume that, by and large, what is not read now will not be read, ever. It is also reasonable to assume that practically nothing that is read now will be read later. Finally, it is not too far-fetched to imagine a future in which novels are not read at all.
Gore Vidal (1925-2012) American novelist, dramatist, critic
“Thomas Love Peacock: The Novel of Ideas” (1980)
The physician can bury his mistakes, but the architect can only advise his clients to plant vines — so they should go as far as possible from home to build their first buildings.
Frank Lloyd Wright (1867-1959) American architect, interior designer, writer, educator [b. Frank Lincoln Wright]
“Frank Lloyd Wright Talks of His Art,” New York Times Magazine (1953-10-04)
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You read something which you thought only happened to you, and you discover that it happened 100 years ago to Dostoyevsky. This is a very great liberation for the suffering, struggling person, who always thinks that he is alone. This is why art is important. Art would not be important if life were not important, and life is important.
James Baldwin (1924-1987) American novelist, playwright, activist
“An interview with James Baldwin” by Studs Terkel (1961), in Conversations With James Baldwin (1989)
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Baldwin revisited this theme multiple times.
You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive. Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian.
[Interview with Jane Howard, Life Magazine (24 May 1963)]
You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive.
["James Baldwin Recalls His Childhood," quoting from a television program, New York Times (31 May 1964)]
Skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.
Tom Stoppard (b. 1937) Czech-English playwright and screenwriter Artist Descending a Staircase (1972)
In this country the Episcopalians have done some good, and I want to thank that church. Having on an average less religion than the others — on an average you have done more good to mankind. You preserved some of the humanities. You did not hate music; you did not absolutely despise painting, and you did not altogether abhor architecture, and you finally admitted that it was no worse to keep time with your feet than with your hands. And some went so far as to say that people could play cards, and that God would overlook it, or would look the other way. For all these things accept my thanks.
Robert Green Ingersoll (1833-1899) American lawyer, agnostic, orator
“What Must We Do to Be Saved?” Sec. 7 (1880)
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Indifference, to me, is the epitome of evil.
The opposite of love is not hate, it’s indifference.
The opposite of art is not ugliness, it’s indifference.
The opposite of faith is not heresy, it’s indifference.
And the opposite of life is not death, but indifference,
indifference between life and death.
Elie Wiesel (1928-2016) Romanian-American novelist, professor, political activist, Nobel Laureate.
“One Must Not Forget,” interview by Alvin P. Sanoff, US News & World Report (27 Oct 1986)
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)
How can cosmic religious feeling be communicated from one person to another, if it can give rise to no definite notion of a God and no theology? In my view, it is the most important function of art and science to awaken this feeling and keep it alive in those who are receptive to it.
Albert Einstein (1879-1955) German-American physicist
“Religion and Science,” New York Times Magazine (9 Nov 1930)
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You ask, What makes it worth defending? and the only answer I can give is this: Freedom to write, freedom to read, freedom to own material that you believe is worth defending means you’re going to have to stand up for stuff you don’t believe is worth defending, even stuff you find actively distasteful, because laws are big blunt instruments that do not differentiate between what you like and what you don’t, because prosecutors are humans and bear grudges and fight for re-election, because one person’s obscenity is another person’s art. Because if you don’t stand up for the stuff you don’t like, when they come for the stuff you do like, you’ve already lost.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Blog entry (2008-12-01), “Why defend freedom of icky speech?”
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No government has the right to decide on the truth of scientific principles, nor to prescribe in any way the character of the questions investigated. Neither may a government determine the aesthetic value of artistic creations, nor limit the forms of literacy or artistic expression. Nor should it pronounce on the validity of economic, historic, religious, or philosophical doctrines. Instead it has a duty to its citizens to maintain the freedom, to let those citizens contribute to the further adventure and the development of the human race.
Richard Feynman (1918-1988) American physicist The Meaning of It All, “The Uncertainty of Values” (1999)
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I think any argument that states that comics (or radio or film or a musical or the novel or insert your favourite medium here…) by its nature trivialises its subject matter is foolish, shortsighted, dim, lazy and wrong. You can say, “This is a bad comic.” You can’t say, “This is bad because it’s a comic.”
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Blog entry (2008-02-21), “Coraline Trailer”
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The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed. This insight into the mystery of life, coupled though it may be with fear, has also given rise to religion. To know that what is impenetrable to us really exists, manifesting itself as the highest wisdom and the most radiant beauty which our dull faculties can comprehend only in their most primitive forms — this knowledge, this feeling, is at the center of true religiousness. In this sense, and in this sense only, I belong in the ranks of devoutly religious men.
Albert Einstein (1879-1955) German-American physicist
“What I Believe,” Forum and Century (Oct 1930)
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Einstein crafted and recrafted his credo multiple times in this period, and specifics are often muddled by differing translations and by his reuse of certain phrases in later writing. The Forum and Century entry appears to be the earliest. Some important variants:
The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science. Whoever does not know it and can no longer wonder, no longer marvel, is as good as dead, and his eyes are dimmed. It was the experience of mystery -- even if mixed with fear -- that engendered religion. A knowledge of the existence of something we cannot penetrate, our perceptions of the profoundest reason and the most radiant beauty, which only in their most primitive forms are accessible to our minds: it is this knowledge and this emotion that constitute true religiosity. In this sense, and only this sense, I am a deeply religious man.
— "The World As I See It [Mein Weltbild]" [tr. Bargmann (1954)]
The fairest thing we can experience is the mysterious. It is the fundamental emotion which stands at the cradle of true art and true science. He who knows it not and can no longer wonder, no longer feel amazement, is as good as dead, a snuffed-out candle. It was the experience of mystery -- even if mixed with fear -- that engendered religion. A knowledge of the existence of something we cannot penetrate, of the manifestations of the profoundest reason and the most radiant beauty, which are only accessible to our reason in their most elementary forms -- it is this knowledge and this emotion that constitute the truly religious attitude; in this sense, and in this alone, I am a deeply religious man.
— "The World As I See It [Mein Weltbild]" [tr. Harris (1934)]
The most beautiful and deepest experience a man can have is the sense of the mysterious. It is the underlying principle of religion as well as all serious endeavor in art and science. He who never had this experience seems to me, if not dead, then at least blind. To sense that behind anything that can be experienced there is a something that our mind cannot grasp and whose beauty and sublimity reaches us only indirectly and as a feeble reflection, this is religiousness. In this sense I am religious.
[Das Schönste und Tiefste, was der Mensch erleben kann, ist das Gefühl des Geheimnisvollen. Es liegt der Religion sowie allem tieferen Streben in Kunst und Wissenschaft zugrunde. Wer dies nicht erlebt hat, erscheint mir, wenn nicht wie ein Toter, so doch wie ein Blinder. Zu empfinden, dass hinter dem Erlebbaren ein für unseren Geist Unerreichbares verborgen sei, dessen Schönheit und Erhabenheit uns nur mittelbar und in schwachem Widerschein erreicht, das ist Religiosität. In diesem Sinne bin ich religiös.]
— Variant in "My Credo [Mein Glaubensbekenntnis]" (Aug 1932)
In the practice of art, as well as in morals, it is necessary to keep a watchful and jealous eye over ourselves; idleness, assuming the specious disguise of industry, will lull to sleep all suspicion of our want of an active exertion of strength. A provision of endless apparatus, a bustle of infinite enquiry and research, or even the mere mechanical labour of copying, may be employed, to evade and shuffle off real labour, — the real labour of thinking.
Joshua Reynolds (1723-1792) British painter, critic
Speech to the Royal Academy, London (10 Dec 1784)
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Paraphrased over a long period of time (and still attributed to Reynolds) as: "There is no expedient to which a man will not resort to avoid the real labor of thinking."
The lecture was later described as the Twelfth Discourse in a 1797 collection of Reynolds' works.
Often attributed to Thomas Edison. More information here.
We all know that Art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand.
[Todos sabemos que el arte no es verdad. El arte es una mentira que no acerca a la verdad, al menos, a aquella verdad que se nos da para entendar.]
Pablo Picasso (1881-1973) Spanish painter and sculptor
“Picasso Speaks: A Statement by the Artist,” interview with Marius de Zayas, The Arts (May 1923)
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Discussing cubism. Translated in Quote Magazine (21 Sep 1958) as "Art is not truth; art is the lie which makes us see the truth."
In the eyes of those lovers of perfection, a work is never finished — a word that for them has no sense — but abandoned; and this abandonment, whether to the flames or to the public (and which is the result of weariness or an obligation to deliver) is a kind of an accident to them, like the breaking off of a reflection, which fatigue, irritation, or something similar has made worthless.
[Aux yeux de ces amateurs d’inquiétude et de perfection, un ouvrage n’est jamais achevé, – mot qui pour eux n’a aucun sens, – mais abandonné ; et cet abandon, qui le livre aux flammes ou au public (et qu’il soit l’effet de la lassitude ou de l’obligation de livrer) est une sorte d’accident, comparable à la rupture d’une réflexion, que la fatigue, le fâcheux ou quelque sensation viennent rendre nulle.]
Paul Valéry (1871-1945) French poet, critic, author, polymath
“Au sujet du ‘Cimetière marin,'” La Nouvelle Revue Française (Mar 1933)
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Often rendered as: "A poem is never finished, only abandoned."
Alt. trans.: "In the eyes of those who anxiously seek perfection, a work is never truly completed -- a word that for them has no sense -- but abandoned; and this abandonment, of the book to the fire or to the public, whether due to weariness or to a need to deliver it for publication, is a sort of accident, comparable to the letting-go of an idea that has become so tiring or annoying that one has lost all interest in it." [tr. Maggio]
In the same vein, in "Recollections," Valery wrote: "A work is never completed except by some accident such as weariness, satisfaction, the need to deliver, or death: for, in relation to who or what is making it, it can only be one stage in a series of inner transformations."
Also attributed to W. H. Auden, Oscar Wilde, and Jean Cocteau, For more discussion of the origin of this phrase, see here.
I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution.
Albert Einstein (1879-1955) German-American physicist
“What Life Means to Einstein,” Interview with G. Viereck, Saturday Evening Post (26 Oct 1929)
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Quoted as "I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world," in Viereck, Glimpses of the Great (1930).
