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61 " I asked Geertrui the other day what she thought love is-real love, true love. She said that for her real love is observing another person and being observed by another person with complete attention. If she's right, you only have to look at the pictures Rembrandt painted of Titus, and there are quite a lot, to see that they loved each other. Because that is what you're seeing. Complete attention, one of the other..." but in that case," he said, speaking the words as the thought came to him, " all art is love, because all art is about looking closely, isn't it? Looking closely at what's being painted." " The artist looking closely while he paints, the viewer looking closely at what has been painted. I agree. All true art, yes. Painting, Writing-literature-also. I think it is. And bad art is a failure to observe with complete attention. So, you see why I like the history of art. It's the study of how to observe life with complete attention. It's the history of love. "
62 " Art does not have to be dull, to be effective; the artist does not have to be a bore, to be real. "
― O. Henry , 41 Stories
63 " After two or three stanzas and several images by which he was himself astonished, his work took possession of him and he experienced the approach of what is called inspiration. At such moments the correlation of the forces controlling the artist is, as it were, stood on its head. The ascendancy is no longer with the artist or the state of mind which he is trying to express, but with language, his instrument of expression. Language, the home and dwelling of beauty and meaning, itself begins to think and speak for man and turns wholly into music, not in the sense of outward, audible sounds but by virtue of the power and momentum of its inward flow. Then, like the current of a mighty river polishing stones and turning wheels by its very movement, the flow of speech creates in passing, by the force of its own laws, rhyme and rhythm and countless other forms and formations, still more important and until now undiscovered, unconsidered and unnamed.At such moments Yury felt that the main part of his work was not being done by him but by something which was above him and controlling him: the thought and poetry of the world as it was at that moment and as it would be in the future. He was controlled by the next step it was to take in the order of its historical development; and he felt himself to be only the pretext and the pivot setting it in motion....In deciphering these scribbles he went through the usual disappointments. Last night these rough passages had astonished him and moved him to tears by certain unexpectedly successful lines. Now, on re-reading these very lines, he was saddened to find that they were strained and glaringly far-fetched. "
― Boris Pasternak , Doctor Zhivago
64 " It often seems to me that art conceals the artist far more completely than it ever reveals him. "
― Oscar Wilde , The Picture of Dorian Gray
65 " Where there is a true art and genuine virtuosity the artist can paint an incomparable masterpiece without leaving even a trace of his identity. "
― Orhan Pamuk , My Name Is Red
66 " The market follows the artist. The artist does not follow the market. "
― Iimani David
67 " [I]t was [Barnett] Newman who made the famously wry remark, “Aesthetics is for the artist as ornithology is for the birds, "
― , Republic of Dreams: Greenwich Village: The American Bohemia 1910-1960
68 " An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’tcapable of loving until he forgets himself and sacrifices himself if necessary, if he won’t put down his magic brush and head the fightagainst the oppressor, then he isn’t a great artist. "
69 " It follows from Schopenhauer’s analysis that evert genuine work of art must have its origin in direct perception; that is to say it does not originate in concepts, and concepts are not what it communicates. This is what more than anything else differentiates good art from bad, or more accurately authentic from inauthentic art. The latter often originates in a desire on the part of the artist to meet some demand external to himself – to win approval, say, or be in the fashion, or supply a market – or else to put over a message of some sort. Such an artist starts by trying to thin what it would be a good idea to do – in other words, the starting point of the process for him is something that exists in terms of concepts. The inevitable result is dead art, of whatever kind, whether imitative, academic, commercial, didactic or fashion-conscious. It may be successful in its day because it meets the demands of its day, but once that day is over it has no inner life of its own with which to outlive it. "
― Bryan Magee , The Philosophy of Schopenhauer
70 " Perhaps never before in history has the artist been so certain that the more daring, iconoclastic, absurd, and inaccessible he is, the more he will be recognized, praised, spoiled, idolatrized. In some countries the result has even been an academicism in reverse, the academicism of the “avant-garde” - to such a point that any artistic experience that makes no concessions to this new conformism is in danger of being stifled or ignored. "
― Mircea Eliade , Myth and Reality
71 " Art and the artist meet in stages, slowly revealing themselves until both are satisfied with what the other has become. "
― Richelle E. Goodrich , Slaying Dragons: Quotes, Poetry, & a few Short Stories for Every Day of the Year
72 " Art is the medium through which you express the inexpressible, convey the unconveyable, transporting the audience in different realms of existence erasing their mental identities. Any effort by the artist to make an personal identity is detrimental in an artistic sense. Be Wiser, leave no residue, dissolve in ART! "
73 " Art should be for sale. The artist should not. "
― A.E. Samaan
74 " These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the " technical" proportions and the " objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those " eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity. "
75 " The biographies of great artists make it abundantly clear that the creative urge is often so imperious that it battens on their humanity and yokes everything to the service of the work, even at the cost of health and ordinary human happiness. The unborn work in the psyche of the artist is a force of nature that achieves its end either with tyrannical might or with the subtle cunning of nature herself, quite regardless of the personal fate of the man who is its vehicle. The creative urge lives and grows in him like a tree in the earth from which it draws its nourishment. "
― C.G. Jung
76 " The creative process, so far as we are able to follow it at all, consists in the unconscious activation of an archetypal image, and in elaborating and shaping this image into the finished work. By giving it shape, the artist translates it into the language of the present, and so makes it possible for us to find our way back to the deepest springs of life. Therein lies the social significance of art: it is constantly at work educating the spirit of the age, conjuring up the forms in which the age is most lacking. "
77 " To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest, as the lowest, form of criticism is a mode of autobiography. "
78 " ... and I submit to you, that science, scientific discovery, especially cosmic discovery, does not become mainstream until the artist embraces the fruits of those discoveries. "
― Neil deGrasse Tyson , Origins: Fourteen Billion Years of Cosmic Evolution
79 " The function of the artist is to disturb. His duty is to arouse the sleeper, to shake the complacent pillars of the world. He reminds the world of its dark ancestry, and shows the world its present and points the way to its new birth. He is at once the product and preceptor of his times. "
― Norman Bethune , The Politics Of Passion: Norman Bethune's Writing And Art
80 " By encouraging the critic in themselves (the hater) they have killed the artist (the lover). "
― Brenda Ueland , If You Want to Write: A Book about Art, Independence and Spirit