Best 22487 quotes in «art quotes» category

Whatever they are, can Comics be "Art"? Of course they can. The "Art" in a piece is something independent of genre, form, or material. My feeling is that most paintings, most films, most music, most literature and, indeed, most comics fail as "Art." A masterpiece in any genre, form or material is equally "good." It's ridiculous to impose a hierarchy of value on art. The division between high and low art is one that cannot be defended because it has no correlation to aesthetic response.

Whatever the Left touches-- the arts; the economy; health care; the soul; religion-- it destroys or damages

Whatever sphere of the human mind you may select for your special study, whether it be language, or religion, or mythology, or philosophy, whether it be laws or customs, primitive art or primitive science, everywhere, you have to go to India, whether you like it or not, because some of the most valuable and most instructive materials in the history of man are treasured up in India, and in India only.

Whatever you do in life, there's content and form; only those two put together create special meaning of a great work of art or great interpretation of music or a great story that you tell.

Whatever your life's pursuit -- art, poetry, sculpture, music, whatever your occupation may be -- you can be as spiritual as clergy, always living a life of praise.

What gives me hope is art - it's the most powerful weapons ever created. It's a weapon of mass construction.

What goes on in abstract art is the proclaiming of aesthetic principles... It is in our own time that we have become aware of pure aesthetic considerations. Art never can be imitation.

What fiction and art can do, particularly narrative art, is construct consciousness - in a sense, we have to do it for the first time, every time.

What gets me excited by the process of making art is how unrelated elements get fused, which is a formal process. The content is the easy part. Putting it together in a way that's cohesive is the challenge.

Whatever your work and whatever its worth, No matter how strong or clever, Some one will sneer if you pause to hear, And scoff at your best endeavor. For the target art has a broad expanse, And wherever you chance to hit it, Though close be your aim to the bull's-eye fame, There are those who will never admit it.

What garlic is to salad, insanity is to art.

What good man would prefer a country covered with forests and ranged by a few thousand savages to our extensive Republic, studded with cities, towns, and prosperous farms, embellished with all the improvements which art can devise or industry execute.

What happens when an art form becomes ambiguous, I think, is that the standards are lowered. You can say anything is jazz. So I think it's important to reflect on what made jazz so special.

What I am really concerned about is what art is supposed to be - and can become.

What I am trying to do is something different - an effect of reality, but what some fools call Impressionism, a term that is usually misapplied, especially by the critics who don't hesitate to apply it to Turner, the greatest creator of mysterious effects in the whole world of art.

What I became a comedian for was to get my art out. To get some of these feelings and things I had on my chest out. I don't care if people believe them, listen to them, change their ways, or think, or any of that kind of crap. I'm interested in showing off. I'm the same kid from sixth grade who stood up and said "watch this.

What I am trying to say is that it is not without any value. The value of copies is that they can direct us towards the original. I was recently at the Louvre Museum and I was filming people who were viewing the Mona Lisa. I noticed the number of ordinary people, astonished, mouths agape, standing still for long stretches looking at the work, and I wondered, "Where does this come from? Are these people all art connoisseurs?" They are like me; through the years, we've seen this work in our schoolbooks or art history books, but when we stand before the original, we hold our breath.

What has pleased and continues to please, is likely to please again; hence are derived the rules of art, and on this immovable foundation they must ever stand.

What has reason to do with the art of painting?

. . . what humanity most desperately needs is not the creation of new worlds but the recreation in terms of human comprehension of the world we have -- and it is for this reason that arts go on for generation to generation in spite of the fact that Phidias has already carved and Homer has already sung. The creation, we are informed, was accomplished in seven days with Sunday off, but the recreation will never be accomplished because it is always accomplished anew for each generation of living men.

What I am most proud of with the book On to the Next Dream is how I turned an intensely emotional experience into art. Anyone can run up to a rooftop, tear off their clothes, and scream about how screwed up the world is. But for the people down below, all they see is a person losing their mind. I wanted to make something that channeled that emotion in a way that elicited an empathetic response from the reader. So that after you read this book, you would want to run up to the rooftop and scream about how screwed up the world is.

What I am sad about is that there is now, in America, no equivalent to the art circuit.

What his imagination is to the poet, facts are to the historian. His exercise of judgment comes in their selection, his art in their arrangement.

What I am out to do is make sure that the Met continues to be the most exciting encyclopedic museum in the world. I want to sustain the vibrancy that makes it exciting to work here, that makes it exciting for visitors. The art remains central.

What I didn't know at the time [of my scholarship] was that the ceramic class was not really a very good class. This was many years ago and should not reflect on the conditions at the Art Institute of Chicago to this day, but we didn't know anything and we started to learn about how to work with clay.

What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue.

What if criticism is a science as well as an art? Not a pure or exact science, of course, but these phrases belong to a nineteenth-century cosmology which is no longer with us.

What I dream of is an art of balance.

What if at school you had to take an 'art class' in which you were only taught how to paint a fence? What if you were never shown the paintings of Leonardo da Vinci and Picasso? Would that make you appreciate art? Would you want to learn more about it? I doubt it..........but this is how math is taught and so in the eyes of most of us it becomes the equivalent of watching paint dry. While the paintings of the great masters are readily available, the math of the great masters is locked away.

What I find on the Internet is fascinating because whole subcultures are developing. And they really are cultures. They have their art forms, their music, and their language. They have their spirituality, they have new names. It's almost like watching colonies of little organisms develop under a petri dish. You can really see these cultures swarming and growing and developing and spawning on the Internet.

What I expect from any work of art is that it surprises me, that it violates my customary valuations of things and offers me other, unexpected ones.

What if imagination and art are not frosting at all, but the fountainhead of human experience?

What I feel fortunate about is that I'm still astonished, that things still amaze me. And I think that that's the great benefit of being in the arts, where the possibility for learning never disappears, where you basically have to admit you never learn it.

What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way that a bad emotion is still an emotion.

What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.

What I hope is I'll eventually be seen as an actual individual, not as some abstraction - an art dealer running a museum.

What I like about baroque is the reemergence of pre-Christian religion. The art of baroque mixes ancient pre-Christian myths with Christian imagery and each reflects upon the other.

What I like or dislike in music is my internal affair. I never want an audience out there to be influenced because John said. I don't want to have to endure that kind of nonsense. I work for the art of the individual.

What I look for when I see a piece of art for the first time is some kind of emotional, intellectual experience, that's a combination of both of those things and is informed by my knowledge and something new that I see the artist doing.

What I love about design is the artistic and scientific complexity that also becomes useful . . . Great designers also pursue a mission. Great designers design with mankind in mind . . . The crossroads of science and art, innovation and inspiration are what I love about design.

What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or allows to consider the world in a slightly different way.

What I'm nostalgic for is the idea of an edge in New York. There used to be these fringes of the city where civilization sort of ended, and therefore young people could live cheaply, or open nightclubs or art galleries, or even squat. That fringe moved out to New Jersey and Brooklyn. The whole idea of the metropolis is the centralization of like-minded souls, and when the central real estate becomes too expensive, the dreamers, the young poets, and the artists will go elsewhere.

What interests me most is neither still life nor landscape, but the human figure.

What inspires me still: travel, art, photography, my kids, the places I haven't been to yet.

What interests me most is when a work of art is no longer just an object, but also touches reality and life.

What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.

What is art? A violet. Is that all? An artistic style is a living entity, a continuous process of invention. It can never be imposed from without; born of the profoundest tendencies within a society, its direction is to a certain extent unpredictable, in much the same way as the eventual configuration of a tree's branches.

What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment . It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.

What inspired me as a child is the same thing that inspires me now: being nice. I always try to one up everybody with verses and be lyrical and just stand for the art.

What, in the devil's name, is the use of respectability, with never so many gigs and silver spoons, if thou inwardly art the pitifulness of all men?