I always enjoyed art history because, growing up in California, my exposure was limited, and it was a new experience. To learn the history of art opened up certain things to me, made me see. It intrigued me.
Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.
I have always said to young artists that scholastic training and the studying of art history are crucial to fully developing as an artist.
I learned more from my mother than from all the art historians and curators who have informed me about technical aspects of art history and art appreciation over the years.
I taught a lot of art history, especially Chinese, Japanese, and Indian. But the painting classes came back. The nudes came back. Not so much the still lifes. So now our department is the worst department, partly because it has the worst facilities.
For me, art history is like a feather bed - you fall into it and it catches you.
What's important about the artists we learn about in art history and see in all the art books is that they have somehow pushed the boundaries of what people think art is or should be, and that's how they've made their work relevant. That's what I'm trying to figure out for myself.
History paints the human heart.
I spend much more time looking at art history and at different references to art than I do at actual objects.
Every age has the Stonehenge it deserves -- or desires.
Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.
PICARD: There is no greater challenge than the study of philosophy. WESLEY: But William James won't be in my Starfleet exams. PICARD: The important things never will be. Anyone can be trained in the mechanics of piloting a starship. WESLEY: But Starfleet Academy PICARD: It takes more. Open your mind to the past. Art, history, philosophy. And all this may mean something.
Quite apart from any conscious program, the great cultural historians have always been historical morphologists: seekers after theforms of life, thought, custom, knowledge, art.
People say graphic design is so different now, because you have so many more pixels and colors to work with... But when you study art history, you see there's just nothing new under the sun. Mosaics and needlework, it's all analogous to pixel and bitmap art. And with it all, good design's not about what medium you're working in, it's about thinking hard about what you want to do and what you have to work with before you start.
An artist should know art history. Shock value only lasts so long.
I think that an obsession with art history gave rise to the work.
There are two lives to each of us, the life of our actions, and the life of our minds and hearts. History reveals men's deeds and their outward characters, but not themselves. There is a secret self that has its own life, unpenetrated and unguessed.
What kinds of problems, and what kinds of meanings, happen in the paint? Or as one historian puts it, 'What is thinking in painting, as opposed to thinking about painting?' These are important questions, and they are very hard to answer using the language of art history.
I had become a kind of information magpie, gathering to myself all manner of shiny scraps of fact and hokum and books and art-history and politics and music and film, and developing, too, a certain skill in manipulating and arranging these pitiful shards so that they glittered and caught the light. Fool's gold, or priceless nuggets mined from my singular childhood's rich bohemian seam? I leave it to others to decide.
Reps once took chances on art, History's most treasured musicians were believed in and cultivated to reach their potential. Today, it would be difficult for those musicians to get deals.
Megacollectors suppose they can enter art history by spending astronomical amounts.
History must always be taken with a grain of salt. It is, after all, not a science but an art.
There are so many people who have a training in art history; and if you've spent time looking at old art, you become attuned to what art does through materiality and so you begin to look to that in contemporary art as well. And anyway, I do think that matching one's experience with what you're looking at and questioning what you're looking inevitably involves materiality, just like it involves the sense of place.
When I was taking art history I was always angry that we would skip certain chapters because "it wasn't important." Like, "Let's skip over the Japanese. Let's just get to Giotto, because that's where everything begins." It's like, no. Everything is relevant to me.
I didn't go to art school. So, I never had this moment of taking time to actually learn how to make things and learn about art history and learn about people that came before me.
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