There is probably nothing more sublime than discontent transmuted into a work of art, a scientific discovery, and so on.
If the work of art is to continue pursuing the vision of both being in and of the world but nevertheless in some fashion being more than just one more object to the mounting clutter, this is the specific point, I think, where this must be assured.
If oxen and lions had hands and could paint with their hands and produce works of art, as men do, horses would paint the forms of the gods likes horses and oxen like oxen. Each would represent them with bodies according to the bodies of each. So the Ethiopians make their gods black and snub-nosed; the Thracians give theirs red hair and blue eyes.
War destroys. War obliterates. War is ruination. And war begets more war. After thousands of years of experience proving this, and reams of literature and countless works of art exposing it, when are people going to learn?
People with a high level of personal mastery are able to consistently realize the results that matter most deeply to them-in effect, they approach their life as an artist would approach a work of art. The do that by becoming committed to their own lifelong learning.
I'd really rather leave it to others to say what they see in it and to see if I've put something into my photographs beyond a mere recording. Yes, I've chosen the camera position, how I'm going to print the negative, the angel of the lens, what I'm going to include and exclude in the composition, so on and so forth. But, I'm still photographing a work of art, and I would rather leave it to others to comment on my work, as I just left it to you.
You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.
Works of art are not so much finished as abandoned. Perhaps poems can be perfect. A short-short story might even be perfectible, as effective and enjoyable for one reader as the next. But novels and other book-length narratives are great rambling things that always contain some flaws. For works of any length, there comes a point when your continued tinkering won't improve the whole, but will just trade one set of problems for another.
Just because something causes you to have a feeling of aesthetic beauty does not make it a work of art.
A work of art is one of mystery, the one extreme magic; everything else is either arithmetic or biology.
In the world of reality the more beautiful a work of art, the longer, we may be sure, was the time required to make it, and the greater the number of different minds which assisted in its development.
The work of art is born of the intelligence's refusal to reason the concrete. It marks the triumph of the carnal.
You are a work of art.
Any work of art that can be understood is the product of journalism.
Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings.
Like a work of art, we exceed our materials. Science needs art to frame the mystery, but art needs science so that not everything is a mystery. Neither truth alone is our solution, for our reality exists in plural
What are works of art for? to educate, to be standards. To produce is of little use unless what we produce is known, is widely known, the wider known the better, for it is by being known that it works, it influences, it does its duty, it does good. We must try, then, to be known, aim at it, take means to it. And this without puffing in the process or pride in the success.
If the seminary is too large, it ought to be divided into smaller communities with formators who are equipped really to accompany those in their charge. Dialogue must be serious, without fear, sincere. It is important to recall that the language of young people in formation today is different from that in the past: we are living through an epochal change. Formation is a work of art, not a police action. We must form their hearts. Otherwise we are creating little monsters. And then these little monsters mold the People of God. This really gives me goose bumps.
All the art of the past rises up before me, the art of all ages and all civilizations, everything becomes simultaneous, as if space had replaced time. Memories of works of art blend with affective memories, with my work, with my whole life.
Works of art are meant to be lived with and loved, and if we try to understand them, we should try to understand them as we try to understand anyone — in order to know them better, not in order to know something else.
Every work of art needs a spine – an underlying theme, a motive for coming into existence. It doesn't have to be apparent to the audience. But you need it at the start of the creative process to guide you and keep you going.
I do not deny that I have made drawings and watercolors of an erotic nature. But they are always works of art. Are there no artists who have done erotic pictures?
There is a deep question whether the possible meanings that emerge from an effort to explain the experience of art may not mask the real meanings of a work of art.
Art is not only about something; it is something. A work of art is a thing in the world, not just a text or commentary on the world.
We should always remember that sensitiveness and emotion constitute the real content of a work of art
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