Art is both creation and recreation. Of the two ideas, I think art as recreation or as sheer play of the human spirit is more important.
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It is not in life, but in art that self-fulfillment is to be found.
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“All that I desire to point out is the general principle that Life imitates Art far more than Art imitates Life.”
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I often think that the night is more alive and more richly colored than the day.
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“Painting in watercolor is like walking a tight-rope; one must achieve a perfect balance between what the paint wants to do and what the artist wants to do, or all is lost.”
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“I remember being handed a score composed by Mozart at the age of eleven. What could I say? I felt like de Kooning, who was asked to comment on a certain abstract painting, and answered in the negative. He was then told it was the work of a celebrated monkey. ‘That’s different. For a monkey, it’s terrific.’”
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Art is the signature of civilizations.
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Beauty was darkness till she came.
Then paint her eyes, whose active light
Shall make the former shadows bright,
And with their every beam supply
New day, to draw her picture by.
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“Love looks not with the eyes, but with the mind; And therefore is winged Cupid painted blind.”
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“All art is but imitation of nature.”
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With nothing can one approach a work of art so little as with critical words: they always come down to more or less happy misunderstandings.
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“Give me a museum, and I’ll fill it.”
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“Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun.”
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“The best introduction by far to representation of the human figure in art. The Nude is a beautifully written work of sophisticated connoisseurship that analyzes art in its own terms rather than imposing strident, politicized categories on it. It outlines the major body types, male and female, in Western art and, via a wealth of illustrations, trains the reader’s eye to detect and evaluate proportion. This book reveres art— an attitude all too rare at universities these days. Students who read Clark will be safely inoculated against the worst excesses of feminist theory, with its prattle about “objectification” and “the male gaze” — terms cooked up by ideologues with glaringly little knowledge or feeling for art.”
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“The essence of all beautiful art, all great art, is gratitude.”
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Very early in my life I took the question of the relation of art to truth seriously: even now I stand in holy dread in the face of this discordance. My first book was devoted to it. The Birth of Tragedy believes in art on the background of another belief – that it is not possible to live with truth, that the “will to truth” is already a symptom of degeneration.
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“Un croquis vaut mieux qu’un long discours.”
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“I saw the angel in the marble and carved until I set him free.”
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The stone unhewn and cold
Becomes a living mould,
The more the marble wastes
The more the statue grows.
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The art of creation lies in the gift of perceiving the particular and generalizing it, thus creating the particular again. It is therefore a powerful transforming force and a generator of creative solutions in relation to a given problem. It is the currency of human exchanges, which enables the sharing of states of the soul and conscience, and the discovery of new fields of experience.
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“Time extracts various values from a painter’s work. When these values are exhausted the pictures are forgotten, and the more a picture has to give, the greater it is.”
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“The arts are an even better barometer of what is happening in our world than the stock market or the debates in congress.”
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“Sadistic excess attempts to reach roughly and by harshness what art reaches by fineness.”
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“On the contrary, art consists of inventing and not copying. The Italian Renaissance is a period of artistic decadence. Those men, devoid of their predecessors’ inventiveness, thought they were stronger as imitators-that is false. Art must be free in its inventiveness, it must raise us above too much reality. This is its goal, whether it is poetry or painting. The plastic life, the picture, is made up of harmonious relationships among volumes, lines, and colors. These are the three forces that must govern works of art. If, in organizing these three essential elements harmoniously, one finds that objects, elements of reality, can enter into the composition, it may be better and may give the work more richness. But they must be subordinated to the three essential elements mentioned above. Modern work thus takes a point of view directly opposed to academic work. Academic work puts the subject first and relegates pictorial values to a secondary level, if there is room.
For us others, it is the opposite. Every canvas, even if nonrepresentational, that depends on harmonious relationships of the three forces-color, volume, and line-is a work of art.
I repeat, if the object can be included without shattering the governing structure, the canvas is enriched. Sometimes these relationships are merely decorative when they are abstract. But if objects figure in the composition-free objects with a genuine plastic value-pictures result that have as much variety and profundity as any with an imitative subject.
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I sometimes wonder if the hand is not more sensitive to the beauties of sculpture than the eye. I should think the wonderful rhythmical flow of lines and curves could be more subtly felt than seen. Be this as it may, I know that I can feel the heart-throbs of the ancient Greeks in their marble gods and goddesses.
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Art is the human disposition of sensible or intelligible matter for an esthetic end.
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“We work in the dark, We do what we can, We give what we have, Our doubt is our passion, and our passion is our task, The rest is the madness of art.”