Success is creating something original and lasting-whether it is a company, a work of art, an idea or analysis that influence others, or a happy and productive family.
The creation of a work of art, like an act of love, is our one small 'yes' at the center of a vast 'no.'
The first demand any work of art makes upon us is to surrender. Look. Listen. Receive. Get yourself out of the way.
You are an artist. What work of art will you leave behind?
A life well lived is the most exquisite work of art.
Never let a day pass without looking at some perfect work of art, hearing some great piece of music and reading, in part, some great book.
You are both a work of art and an artist at work.
The work of art which I do not make, none other will ever make.
Art, if it is successful, needs no explanation. Star Trek and Spock, if they are works of art, can be discussed. But finally the response comes in individual terms. Each viewer sees what is there for him, depending on his frame of reference.
Every human being is a work of art.
I think a more complex idea of fiction - and the human self's relationship with the world - emerges when we abandon this philistine equation between literature and liberalism and human goodness, and pay some attention to the darker, ambiguous, and often muddled energies and motivations that shape a work of art. If we do this, we can appreciate a writer like Céline or Gottfried Benn without worrying whether they conform to existing notions of political incorrectness.
The destiny of photography has taken it far beyond the role to which it was originally thought to be limited: to give more accurate reports on reality (including works of art). Photography is the reality; the real object is often experienced as a letdown.
The greatest works of art speak to us without knowing us.
If a work of art is placed before me, I believe I can enjoy it; but I do not overlook the fact, that Art is one thing, another thing Amusement; and that people do like amusements, and will run after it.
My grandfather was a most gifted person, and amongst his many qualities, one of them had always particularly impressed me. While the past was a book he had read and re-read may times, the future was just one more literary work of art into which he used to pour himself with deep thought and concentration. Innumerable people since his death have told me how he used to read in the future, and this certainly was one of his very great strengths.
The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics.
A work of art enters life very much like another human being - complicated, loaded with overtones and meaning, mysterious, enticing, obsessive, and beautiful. There's no way to control how it will be used, how it will be read, and that's part of the excitement of it.
Isherwood did not so much find himself in Berlin as reinvent himself; Isherwood became a fiction, a work of art.
Can one make works which are not works of 'art'?
All the great things we know have come to us from neurotics. It is they who have founded religions and created great works of art.
There are three classes of readers; some enjoy without judgment; others judge without enjoyment; and some there are who judge while they enjoy, and enjoy while they judge. The latter class reproduces the work of art on which it is engaged. Its numbers are very small.
It is in general true that in order to create works of art one has to have leisure. On the other hand I think that one needs to experience resistance in a practical sense, and even that which is poignant to bring out what makes easy reading for others. Too much deprivation of course, means death.
To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy.
Experiment - exercising to see the result. We planned Europa not as an experiment in this sense but as a work of art. Yet The Eye and the Ear was done as a consciously designed experiment. Not every avant-garde dealt with experiments and not every experiment equalled avant-garde.
In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.
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