A room hung with pictures is a room hung with thoughts.
Joshua Reynolds (1723-1792) British painter, critic
(Attributed)
(Source)
Quoted in Bolster's Quarterly Magazine (Jul 1827)
Quotations about:
art
Note not all quotations have been tagged, so Search may find additional quotes on this topic.
The pain passes, but the beauty remains.
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)
Dead he is not, but departed — for the artist never dies.
Henry Wadsworth Longfellow (1807-1882) American poet
“Nuremberg,” st. 13
Abstract art? A product of the untalented, sold by the unprincipled to the utterly bewildered.
Al Capp (1909-1979) American cartoonist and humorist [Alfred Gerald Caplin]
In The National Observer (1 Jul 1963)
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)
Buy old masters. They fetch a better price than old mistresses.
Max Aitken, Lord Beaverbrook (1879-1964) Anglo-Canadian business tycoon, publisher, politician, writer
(Attributed)
Do not imagine you can exorcise what oppresses you in life by giving vent to it in art.
Gustave Flaubert (1821-1880) French writer, novelist
Letter to Louise Colet (25 Nov 1853)
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)
(Source)
Any fool can paint a picture but it takes a wise man to be able to sell it.
Samuel Butler (1835-1902) English novelist, satirist, scholar
The Note-Books of Samuel Butler (1912)
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).
Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.
Scott Adams (b. 1957) American cartoonist
The Dilbert Principle (1996)
Sometimes misquoted as "Design is knowing which ones to keep." Sometimes misattributed to Douglas Adams or Ricky Gervais. More information here.
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)
(Source)
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 theater needs continual reminders that there is nothing more debasing than the work of those who do well what is not worth doing at all.
Gore Vidal (1925-2012) American novelist, dramatist, critic
“Love Love Love,” Partisan Review (Spring 1959)
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)
(Source)
A work is perfectly finished only when nothing can be added to it and nothing taken away.
Joseph Joubert (1754-1824) French moralist, philosopher, essayist, poet
Pensées, #1809 (1838) [tr. Auster (1983)]
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)
(Source)
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)]
Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse.
Winston Churchill (1874-1965) British statesman and author
Speech, Royal Academy of Art banquet, London (30 Apr 1953)
(Source)
Art is man’s nature; nature is God’s art.
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)
(Source)
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)
See also Nietzsche.
One of the pleasant things those of us who write or paint do is to have the daily miracle. It does come.
G. B. Stern (1890-1973) British writer [Gladys Bronwyn Stern]
Paris France, Part I (1940)
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)
(Source)
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?”
(Source)
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)
(Source)
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”
(Source)
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)
(Source)
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)
See parallel sentiments here, here, and here.
The sole substitute for an experience which we have not ourselves lived through is art and literature.
Alexander Solzhenitsen (1918-2008) Russian novelist, emigre [Aleksandr Isayevich Solzhenitsyn]
Nobel Lecture (1972)
He who carves the Buddha never worships him.
(Other Authors and Sources)
Chinese proverb
A painting is never finished — it simply stops in interesting places.
(Other Authors and Sources)
Paul Gardner
Art, like morality, consists of drawing the line somewhere.
Gilbert Keith Chesterton (1874-1936) English journalist and writer
“Our Note Book,” Illustrated London News (5 May 1928)
Often misattributed to Oscar Wilde (and as "Morality, like art ..."). For more info, see here.
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)
(Source)
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)
(Source)
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).
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)
(Source)
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)
(Source)
Discussing cubism. Translated in Quote Magazine (21 Sep 1958) as "Art is not truth; art is the lie which makes us see the truth."
