Home > Topic > The Artist
21 " I know a woman who gets tattoos all the time. She acquires new tattoos the way I might buy a new pair of earrings. She wakes up in the morning and announces, " I think I'll go get a new tattoo today." If you ask her what kind of tattoo she's planning on getting, she'll say casually, " I dunno….I'll figure it out when I get to the tattoo shop. Or I'll just let the artist surprise me." Now, this woman is not a teenager. She's a grown woman with adult children, and she runs a successful business. She's also really cool, uniquely beautiful, and one of the freest spirits I've ever met.When I asked her how she could mark up her body so casually and so permanently, she said, " Oh, but you misunderstand: It's not permanent! It's temporary." Confused, I asked, " You mean, all your tattoos are temporary?" She smiled like a sexy rock 'n roll Buddha and said, " No, honey. My tattoos are permanent — it's my BODY that's temporary. And so is yours. We're here on earth for a very short while. I just want to decorate my temporary self as playfully and beautifully as I can, while I still have time." I love this so much, I can't even tell you.I myself am not covered with tattoos. (Although I do have two of them. Before I went traveling for Eat, Pray, Love, I had two words written into my forearms in white ink: COURAGE and COMPASSION.) But I do want to live the most vividly decorated temporary life I can. I don't just mean physically. I mean emotionally, spiritual, intellectually. I don't want to be afraid of bright colors, or big love, or major decisions, or new experiences, or risky creative endeavors, or sudden changes, or even great failure. "
22 " Art invariably grows out of a period when, in general, the artist admires his own nation and wants to win its approval. "
― F. Scott Fitzgerald
23 " A cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the 'standpoint of art' can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a 'secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes. "
― Hans-Georg Gadamer , Truth and Method
24 " Success has always been the greatest liar - and the " work" itself is a success; the great statesman, the conqueror, the discoverer is disguised by his creations, often beyond recognition; the " work," whether of the artist or the philosopher, invents the man who has created it, who is supposed to have create it; " great men," as they are venerated, are subsequent pieces of wretched minor fiction "
25 " Success involves failing first. Ask any successful person. Ask any experienced person, really. It's all part of the creative process, so sit back and allow the artist within you to sprout, blossom and flourish. You must accept that your first, second, and third attempt at something might suck. It's a necessary step in improving your skill. Failure is your teacher, not your judge. "
― Connor Franta , A Work in Progress
26 " Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains.Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce "
― Aldous Huxley , The Doors of Perception
27 " The position of the artist is humble. He is essentially a channel.Piet MondrianThe Artist's Way A Spiritual Path to Greater Creativity by Julia Cameron "
28 " If all of the steps of surrender are present, then a great Rembrandt or Monet will evoke love because the artist is simply there in all his naked humanity. "
― Deepak Chopra , The Book of Secrets: Unlocking the Hidden Dimensions of Your Life
29 " When I think of Tao, I think of the artist Bob Ross and his famous painting techniques. I can hear him say, “It’s your tree, you can make it look any way you want to. "
― Sheila Burke
30 " The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting.But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in s "
31 " Who but the artist has the power to open man up, to set free the imagination? The others - priest, teacher, saint, statesman, warrior - hold us to the path of history. They keep us chained to the rock, that the vultures may eat out our hearts. It is the artist who has the courage to go against the crowd; he is the unrecognized " hero of our time" - and of all time. "
32 " I used to think freedom was freedom of speech, freedom of the press, freedom of conscience. But freedom is the whole life of everyone. Here is what it amounts to: you have to have the right to sow what you wish to, to make shoes or coats, to bake into bread the flour ground from the grain you have sown, and to sell it or not sell it as you wish; for the lathe operator, the steelworker, and the artist it’s a matter of being able to live as you wish and work as you wish and not as they order you to. And in our country there is no freedom – not for those who write books nor for those who sow grain nor for those who make shoes.” (Grossman, p. 99) He noted that “In people’s day-to-day struggle to live, in the extreme efforts workers put forth to earn an extra ruble through moonlighting, in the collective farmers’ battle for bread and potatoes as the one and only fruit of their labor, he [Ivan Grigoryevich] could sense more than the desire to live better, to fill one’s children’s stomachs and to clothe them. In the battle for the right to make shoes, to knit sweaters, in the struggle to plant what one wished, was manifested the natural, indestructible striving toward freedom inherent in human nature. He had seen this very same struggle in the people in camp. Freedom, it seemed, was immortal on both sides of the barbed wire.” (Grossman, p. 110) "
― Vasily Grossman , Forever Flowing
33 " It gives him spiritual freedom. To him life is a tragedy and by his gift of creation he enjoys the catharsis a purging of pity and terror, Which Aristotle tells is the object of art. Everything is transformed by his power into material and by writing it he can overcome it. Everything is grist to his mill. ... The artist is the only free man. "
― W. Somerset Maugham
34 " To the person who believes this- as the western world did up until a few centuries ago- this physical, sensible world is good because it proceeds from a divine source. The artist usually knows this by instinct; his senses, which are used to penetrating the concrete, tell him so. When Conrad said that his aim as an artist was to render the highest possible justice to the visible universe, he was speaking with the novelist's surest instinct. The artist penetrates the concrete world in order to find at its depths the image of its source, the image of ultimate reality. This in no way hinders his perception of evil but rather sharpens it, for only when the natural world is seen as good does evil become intelligible as a destructive force and a necessary result of our freedom. "
― Flannery O'Connor
35 " Kitsch is the aesthetic ideal of all politicians and all political parties and movements. Those of us who live in a society where various political tendencies exist side by side and competing influences cancel or limit one another can manage more or less to escape the kitsch inquisition: the individual can preserve his individuality; the artist can create unusual works. But whenever a single political movement corners power, we find ourselves in the realm of totalitarian kitsch. "
― Milan Kundera , The Unbearable Lightness of Being
36 " I do not believe that human lives may be made the means for satisfying an artist's desire for self-expression. We must demand, rather, that every man should be given, if he wishes, the right to model his life himself, as far as this does not interfere too much with others. Much as I may sympathize with the aesthetic impulse, I suggest that the artist might seek expression in another material. Politics, I demand, must uphold equalitarian and individualistic principles; dreams of beauty have to submit to the necessity of helping men in distress, and men who suffer injustice; and to the necessity of constructing institutions to serve such purposes. "
― Karl Popper , The Open Society and Its Enemies
37 " Beauty is something wonderful and strange that the artist fashions out of the chaos of the world in the torment of his soul. And when he has made it, it is not given to all to know it. To recognize it you must repeat the adventure of the artist. It is a melody that he sings to you, and to hear it again in your own heart you want knowledge and sensitiveness and imagination. "
― W. Somerset Maugham , The Moon and Sixpence
38 " The study of beauty is a duel in which the artist cries out in terror before being vanquished. "
― Charles Baudelaire , Twenty Prose Poems
39 " The principle of any science is invisible, theoretical, as is our idea of Spirit. No one has seen God; no one has seen Life; what we have seen is the manifestation of Life. No one has seen Intelligence; we experience it. No one has ever seen Causation; we can see what It does, we deal with Its effects. We do not see Beauty. The artist feels beauty and depicts it as best he can, and the result of his effort is what we call the beautiful...We do not see Life, we experience living. Causation is invisible. "
― , The Science of Mind
40 " Obedience is an unpopular word nowadays, but the artist must be obedient to the work, whether it be a symphony, a painting, or a story for a small child. I believe that each work of art, whether it is a work of great genius or something very small, comes to the artist and says, " Here I am, Enflesh me. Give birth to me." And the artist either says, " My soul doth magnify the Lord," and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessarily a conscious one, and not everyone has the humble, courageous obedience of Mary. "
