3
" When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.’ An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art. "
― L. Ron Hubbard
6
" 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. "
9
" Yet, some things do not change. Overall, designers have stayed with techniques that work—in different countries and historical periods. Flagg’s 'I Want You for U.S. Army' design in World War I, with 'Uncle Sam' looking directly at the viewer and pointing a finger at him, was derived from a British poster produced three years earlier; in the British poster, Secretary of State for War Lord Kitchener is pointing a finger at British males, with the words 'Wants You, Join Your Country’s Army! God Save The King.' Other countries—Italy, Hungary, Germany, Great Britain, Canada, France, the Irish Parliamentary Party, the Red Army in Russia, and later, the Republicans in the Spanish Civil War—designed similar posters. The British applied the same design idea in World War II, featuring Prime Minister Winston Churchill, instead of Kitchener, in the same pose; the U.S. Democratic Party resurrected Flagg’s Uncle Sam image, including it in an election poster for Franklin D. Roosevelt. In the decades that followed, however, anti-war protest groups issued satires of Flagg’s 'I Want You' poster, with 'Uncle Sam' in a variety of poses: pointing a gun at the audience; making the 'peace sign,' bandaged and accompanied by the slogan 'I Want Out'; as a skeleton, with a target superimposed on him; and with the 'bad breath' of airplanes dropping bombs on houses in his mouth. "
― Steven A. Seidman , Posters, Propaganda, and Persuasion in Election Campaigns Around the World and Through History