Quotes of All Topics . Occasions . Authors
The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich.
Cookery means…English thoroughness, French art, and Arabian hospitality; it means the knowledge of all fruits and herbs and balms and spices; it means carefulness, inventiveness, and watchfulness.
Whatever merit there is in anything that I have written is simply due to the fact that when I was a child my mother daily read me a part of the Bible and daily made me learn a part of it by heart.
Levi's station in life was the receipt of custom; and Peter's, the shore of Galilee; and Paul's, the antechambers of the High- Priest, which "station in life" each had to leave, with brief notice.
I have no evangelical feelings about art at all. I despise art education. Art doesn't lend itself to education. There is no knowledge there. It's a set of propositions about how things should look.
In some ways Lawler is a conceptual Diane Arbus. She's a stalker who takes advantage of situations. She pulls back curtains, causing normal things to look freakish and the freakish to turn mundane.
Compassion has no place in the natural order of the world which operates on the basis of necessity. Compassion opposes this order and is therefore best thought of as being in some way supernatural.
A cigarette is a breathing space. It makes a parenthesis. The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. Its like a proscenium arch for a dialogue.
So time doesn't count, and place does?' I said this to tease her. When I was a man, I liked teasing her and she went along with it, consenting, for it reminded us both of a sadness that had passed.
Whereas it has long been known and declared that the poor have no right to the property of the rich, I wish it also to be known and declared that the rich have no right to the property of the poor.
All things are literally better, lovelier, and more beloved for the imperfections which have been divinely appointed, that the law of human life may be effort, and the law of human judgment, mercy.
As the decades go by, a painter's life becomes a life lived with oil paint, a story told in the thicknesses of oil. Any history of painting that does not take that obsession seriously is incomplete.
A cigarette is a breathing space. It makes a parenthesis. The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. It's like a proscenium arch for a dialogue.
I will not kill or hurt any living creature needlessly, nor destroy any beautiful thing, but will strive to save and comfort all gentle life, and guard and perfect all natural beauty upon the earth.
Men don't and can't live by exchanging articles, but by producing them. They don't live by trade, but by work. Give up that foolish and vain title of Trades Unions; and take that of laborers Unions.
It was stated, . . . that the value of architecture depended on two distinct characters:--the one, the impression it receives from human power; the other, the image it bears of the natural creation.
I use charcoal a lot. Partly because it has such a fantastic range but also because it is very easy to erase. For me, drawing is a lot to do with taking out, with returning to the white of the paper.
When you pay too much, you lose a little money - that is all. When you pay too little, you sometimes lose everything, because the thing you bought is incapable of doing the thing it was bought to do.
I am far more provoked at being thought foolish by foolish people, than pleased at being thought sensible by sensible people; and the average proportion of the numbers of each is not to my advantage.
You could say that clinical depression is an incapacity to aesthetic response. It's like there's a constant agreement within ourselves, a kind of mutual understanding between ourselves and the world.
One argument goes that recessions are good for female artists because when money flies out the window, women are allowed in the house. The other claims that when money ebbs, so do prospects for women.
These days, newish art can be priced between $10,000 and $25,000. When I tell artists that a new painting by a newish artist should go for around $1,200, they look at me like I'm a flesh-eating virus.
Protest and anger practically always derives from hope, and the shouting out against injustice is always in the hope of those injustices being somewhat corrected and a little more justice established.
Art is the provocation for talking about enigma and the search for sense in human life. One can do that by telling a story or writing about a fresco by Giotto or studying how a snail climbs up a wall.
To follow art for the sake of being a great man, and therefore to cast about continually for some means of achieving position or attracting admiration, is the surest way of ending in total extinction.
If some people really see angels where others see only empty space, let them paint the angels: only let not anybody else think they can paint an angel too, on any calculated principles of the angelic.
That which is required in order to the attainment of accurate conclusions respecting the essence of the Beautiful is nothing morethan earnest, loving, and unselfish attention to our impressions of it.
Indeed, the idea that doubt can be heroic, if it is locked into a structure as grand as that of the paintings of Cezanne's old age, is one of the keys to our century. A touchstone of modernity itself.
I'd like to understand why it seems normal to look at astonishing achievements made by unapproachably ambitious, luminously pious, strangely obsessed artists, and toss them off with a few wry comments.
Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.
There is a satisfactory and available power in every one to learn drawing if he wishes, just as nearly all persons have the power of learning French, Latin or arithmetic, in a decent and useful degree.
Education is this funny thing. You deal for several years with organized information, and then you go out into the world and you never see any of that ever again. There's no more organized information.
What is art?... From a strictly logical point of view, a question with no clear answer comes under the suspicion of being meaningless. But a strictly logical point of view never shows us much about art.
A rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.
In the context of a question regarding what an artist might be, I would want to raise the question of what a theorist might be, to signal how inextricably linked these existences and practices might be.
Modern paintings often seem to have been made quickly, by comparison with the paintings of earlier centuries, and that seems to give us the license to look at them quickly - to consume them and move on.
If there be any one principle more widely than another confessed by every utterance, or more sternly than another imprinted on every atom of the visible creation, that principle is not liberty, but law.
On the whole, money does artists much more good than harm. The idea that one benefits from cold water, crusts and debt collectors is now almost extinct, like belief in the reformatory power of flogging.
When you look at a work of art, you don't see a cover for something else; you see revelation. If you're an artist, art is the truest expression of yourself. Even if you're painting a life you don't have.
Most people would guess that the sun is fifty or a hundred times brighter than the moon, but it's a half million times brighter - evidence of the amazing capacity of our eyes to adjust to light and dark.
We're all entitled to opinions about how art institutions should behave, and entitled to voicing those opinions through whatever means available to us. We're also allowed to change or modify our opinions.
We have much studied and much perfected, of late, the great civilized invention of the division of labour; only we give it a false name. It is not, truly speaking, the labour that is divided; but the men.
I don't know what art is, but I do know what it isn't. And it isn't someone walking around with a salmon over his shoulder or embroidering the name of everyone they have slept with on the inside of a tent.
Civilized people can talk about anything. For them no subject is taboo.... In civilized societies there will be no intellectual bogeys at sight of which great grownup babies are expected to hide their eyes.
Boycott is not a principle. When it becomes one, it itself risks becoming exclusive and racist. No boycott, in our sense of the term, should be directed against an individual, a people, or a nation as such.
You may chisel a boy into shape, as you would a rock, or hammer him into it, if he be of a better kind, as you would a piece of bronze. But you cannot hammer a girl into anything. She grows as a flower does.
When we build, let us think that we build forever. Let it not be for present delight nor for our use alone. Let it be such work as our descendants will look upon with praise and thanksgiving in their hearts.
Expression, sentiment, truth to nature, are essential: but all those are not enough. I never care to look at a picture again, if it be ill composed; and if well composed I can hardly leave off looking at it.
Most famous artists are created by their work and the idea of them as a character, and if they're smart and ambitious, they reinforce that character because they want to win. They want their views to prevail.
It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He's the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.