An amateur is an artist who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.
Classic means standard as opposed to Romantic: form before meaning as opposed to meaning before form. It grows from inside out, while Romantic grows from outside in.
Everything in nature is formed upon the sphere, the cone and the cylinder. One must learn to paint these simple figures and then one can do all that he may wish.
I think there is no work of art which represents the spirit of a nation more surely than "Die Meister Singer" of Richard Wagner. Here is no plaything with local colour, but the raising to its highest power all that is best in the national consciousness of his country.
The genuine artist is as much a dissatisfied person as the revolutionary, yet how diametrically opposed are the products each distills from his dissatisfaction.
When they asked Michelangelo how he made his statue of David he is reported to have said, "It is easy. You just chip away the stone that doesn't look like David."
The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined, out of existence, indifferent, paring his fingernails.
When power leads man toward arrogance, poetry reminds him of his limitations. When power narrows the areas of man's concern, poetry reminds him of the richness and diversity of his experience. When power corrupts, poetry cleanses. For art establishes the basic human truths which must serve as the touchstones of our judgement. The artist. . . faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an offensive state.
Pioneers did not produce original works of art, because they were creating original human environments; they did not imagine Utopias because they were shaping them.
Art is a human activity, consisting in this, that one man consciously, by means of external signs, hands on to others feelings he has worked through, and other people are infected by these feelings and also experience them.
A picture lives by companionship. It dies by the same token. It is therefore risky to send it out into the world. How often it must be impaired by the eyes of the unfeeling.
Abstract art is uniquely modern. It is a fundamentally romantic response to modern life - rebellious, individualistic, unconventional, sensitive, irritable.
Culture is something you cannot buy, something you cannot import, something you cannot learn or produce at will. A writer, an artist or musician cannot sit down and say 'Now I will produce culture.' Culture is something that evolves out of the simple, enduring elements of everyday life; elements most truthfully expressed in the folk arts and crafts of a nation.
One of the recognizable features of the authentic masterpiece is its capacity to renew itself, to endure the loss of some kinds of immediate relevance while still answering the most important questions men can ask, including new ones they are just learning how to frame.
All art is a kind of confession, more or less oblique. All artists, if they are to survive, are forced, at last, to tell the whole story; to vomit the anguish up.
History repeats itself, but the special call of an art which has passed away is never reproduced. It is utterly gone out of the world as the song of a destroyed wild bird.
Illustrations have as much to say as the text. The trick is to say the same thing, but in a different way. It's no good being an illustrator who is saying a lot that is on his or her mind, if it has nothing to do with the text. . . the artist must override the story, but he must also override his own ego for the sake of the story.
Art has no other object than to set aside the symbols of practical utility, the generalities that are conventionally and socially accepted, everything in fact which masks reality from us, in order to set us face to face with reality itself.
Every artist preserves deep within him a single source from which, throughout his lifetime, he draws what he is and what he says and when the source dries up the work withers and crumbles.
I am convinced it is a mistake to find an artist human outside his work. If you cannot find him human in and through his work, you are better not to know it when you come to formulate an opinion of his public value.
One of the recognizable features of the authentic masterpiece is its capacity to renew itself, to endure the loss of some kinds of immediate relevance while still answering the most important questions men can ask, including new ones they are just learning how to frame.
All art is a kind of confession, more or less oblique. All artists, if they are to survive, are forced, at last, to tell the whole story; to vomit the anguish up.
History repeats itself, but the special call of an art which has passed away is never reproduced. It is utterly gone out of the world as the song of a destroyed wild bird.
Illustrations have as much to say as the text. The trick is to say the same thing, but in a different way. It's no good being an illustrator who is saying a lot that is on his or her mind, if it has nothing to do with the text. . . the artist must override the story, but he must also override his own ego for the sake of the story.
Living is a form of not being sure, not knowing what next or how. The moment you know how, you begin to die a little. The artist never entirely knows. We guess. We may be wrong, but we take leap after leap in the dark.
Art-speech is the only truth. An artist is usually a damned liar but his art, if it be art, will tell you the truth of his day. And that is all that matters. Away with eternal truth. The truth lives from day to day, and the marvelous Plato of yesterday is chiefly bosh today.