In our day the conventional element in literature is elaborately disguised by a law of copyright pretending that every work of art is an invention distinctive enough to be patented.
Less disappointing than life, great works of art do not begin by giving us all their best.
We're all just a bundle of habits shaped by our memories. And to the extent that we control our lives, we do so by gradually altering those habits, which is to say the networks of our memory. No lasting joke, or invention, or insight, or work of art was ever produced by an external memory. Not yet, at least.
Don't underestimate the therapeutic value of gardening. It's the one area where we can all use our nascent creative talents to make a truly satisfying work of art. Every individual, with thought, patience and a large portion of help from nature, has it in them to create their own private paradise: truly a thing of beauty and a joy for ever.
No work of art ever puts forward views. Views belong to people who are not artists.
Of all man's works of art, a cathedral is greatest. A vast and majestic tree is greater than that.
Wonder at the first sight of works of art may be the effect of ignorance and novelty; but real admiration and permanent delight in them are the growth of taste and knowledge.
The form of a work of art, which gives speech to their thoughts and is, therefore, their mode of talking, is always somewhat uncertain, like all kinds of speech.
Now the images and temples constructed by mechanics are made of inert matter, so that they too are inert, material, and profane. Even if you perfect the art, it partakes of mechanical coarseness. Works of art cannot then be sacred and divine.
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art. There is no doubt that the leaders of the creative artists of the last 50 years concentrated their efforts mainly on eliminating that distance.
The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good.
In a sense, as we are creative beings, our lives become our work of art.
People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians.
Perpetual modernism is the measure of merit in every work of art.
The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own traveling brotherhood.
A work of art is finished, from the point of view of the artist, when feeling and perception have resulted in a spiritual synthesis.
Individuality realized is the supreme attainment of the human soul, the master-master's work of art. Individuality is sacred.
A work of art comes only from inside a human being.
It is sometimes asserted that a surgical operation is or should be a work of art ... fit to rank with those of the painter or sculptor. ... That proposition does not admit of discussion. It is a product of the intellectual innocence which I think we surgeons may fairly claim to possess, and which is happily not inconsistent with a quite adequate worldly wisdom.
If Watson and I had not discovered the [DNA] structure, instead of being revealed with a flourish it would have trickled out and that its impact would have been far less. For this sort of reason Stent had argued that a scientific discovery is more akin to a work of art than is generally admitted. Style, he argues, is as important as content. I am not completely convinced by this argument, at least in this case.
There is no work of art that is without short cuts.
Theory has nothing to do with a work of art. Pictures which are interpretable, and which contain a meaning, are bad pictures. A picture presents itself as the Unmanageable, the Illogical, the Meaningless. It demonstrates the endless multiplicity of aspects; it takes away our certainty, because it deprives a thing of its meaning and its name. It shows us the thing in all the manifold significance and infinite variety that preclude the emergence of any single meaning and view.
Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'
I am an artist at living - my work of art is my life.
More important than a work of art itself is what it will sow. Art can die, a painting can disappear. What counts is the seed.
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