Best 22487 quotes in «art quotes» category

We come away from the tragedies of [William] Shakespeare with a profound sense of having encountered reality in its most pristine form - yet the art-work is elaborately artificial, the very genre of tragedy in poetry an anti-naturalist perspective.

We consider the beauty of nature and art with pleasure and satisfaction, without the slightest movement of desire. Instead, it appears to be a particular mark of beauty that it is considered with tranquil satisfaction; that it pleases if we also do not possess it and we are still far removed from demanding to possess it

We constantly have ideas and experiences that go beyond what we can say or know. Most often these are expressed in art, in painting, in music. Music, everyday confronts us with a form of knowing that doesn't depend on words.

We [Corbis] make it so easy to call up images, whether art or people or beaches or sunsets or Nobel Prize winners.

We could go work on curing cancer. We could go work on building spaceships. We could go work on art projects. What's fun about working at Asana is we get to work on all of them at the same time.

We could move catalog, if he'd only die quicker.

We cleave to the past too much in Germany. All of our German art is too bogged down in the conventional... I think more highly of a free person who consciously puts convention aside.

We create these walls between fact and fiction, but often the difference between the two is as little as that between a real name and a pseudonym. So I'm not sure about those walls - certainly not in the realm of visual arts.

We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams.

We do express our emotions, our reactions to events, breakups and infatuations, but the way we do that - the art of it - is in putting them into prescribed forms or squeezing them into new forms that perfectly fit some emerging context. That’s part of the creative process, and we do it instinctively; we internalize it, like birds do. And it’s a joy to sing, like the birds do.

We discard the personal specifics which don't conform to the ideal conventional beauty created by art directors and cinematographers.

We document, explain, justify, construct, organize: these are good things, but we do not succeed in coming to the whole. But we may as well calm down: construction is not absolute. Our virtue is this: by cultivating the exact we have laid the foundations for a science of art, including the unknown X.

We do not escape into philosophy, psychology, and art--we go there to restore our shattered selves into whole ones.

We do not judge great art. It judges us.

We don't all dig Shakespeare uniformly, or even 'Little Red Riding Hood.' The understanding of art depends finally upon one's willingness to extend one's humanity and one's knowledge of human life.

We do not wish to imitate nature, we do not wish to reproduce. We want to produce. We want to produce the way a plant produces its fruit, not depict. We want to produce directly, not indirectly. Since there is not a trace of abstraction in this art we call it concrete art.

We do not yet trust the unknown powers of thought. Whence came all these tools, inventions, book laws, parties, kingdoms? Out of the invisible world, through a few brains. The arts and institutions of men are created out of thought. The powers that make the capitalist are metaphysical, the force of method and force of will makes trade, and builds towns.

We do not need French post-structuralism, whose pedantic jargon, clumsy convolutions, and prissy abstractions have spread throughout academe and the arts and are now blighting the most promising minds of the next generation. This is a major crisis if there ever was one, and every sensible person must help bring it to an end.

We do not make art. We have unnamable motors and dangerous impulses that occupy our thoughts.

We don't make mistakes; we just have happy accidents.

We don't need to be taught to make art, but sometimes we need permission to do so. Following instructions is overrated.

We don't sell a watch to give time. We sell a piece of art. We sell an object that represents something to you, you know. It's like you have a nice shirt or a nice jacket. It's like a luxury accessories that can be considered like shoes or like handbags for ladies.

We don't have the choice to control our emotions, but we do have the power to educate our emotions. And we do that through literature and through art and music to give ourselves a repertoire of emotional experiences.

We don't necessarily need so many artists. I recommend that many of the people who think they want to be artists should go into the American Friends Service Committee, or do government outreach to communities that don't have water, or that need seeds or ecological assistance. It would create a system in which people with engaged sensibilities and potential insight assist instead of imposing. I think it could leap right out of the art world into wonderful community action.

We do this for the art, not the adulation. I'd rather our music get liked and we get ignored. I don't want to be adored for anything other than the music.

Weep not, my wanton, smile upon my knee;When thou art old there's grief enough for thee.

We feel more emotion... before an amateur photograph linked to our own life history than before the work of a Great Photographer, because his domain partakes of art, and the intent of the souvenir-object remains at the lower level of personal history.

We fight, get beat, rise, and fight again.

We express our art in everything we say, everything we feel, and everything we do. The creation is ongoing, it is endless, it is happening in every moment.

We find the Works of Nature still more pleasant, the more they resemble those of art.

We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.

We foresee no limit to scientific advancement in the future, and in scientific truth there is nothing dead; science is always a living and growing body of knowledge; but art on the contrary has many times run its course to an end, and exhausted its vital power.

We fret about words, we writers. Words mean. Words point. They are arrows. Arrows stuck in the rough hide of reality. And the more portentous, more general the word, the more they can also resemble rooms or tunnels. They can expand, or cave in. They can come to be filled with a bad smell. They will often remind us of other rooms, where we'd rather dwell or where we think we are already living. They can be spaces we lose the art or the wisdom of inhabiting. And eventually those volumes of mental intention we no longer know how to inhabit will be abandoned, boarded up, closed down.

We get to the point then with modern science where you could almost say that modern science is the art of describing those systems so crude in their structure that they are not subject to temporal variables.

We go for our own reality. I remember some of our guys saying it is way harder to make stylized art directed explosions of jade rather than a regular explosion of shrapnel.

We grew up in a very creative environment and were exposed to the arts at a very young age, so it's not a surprise that all of us are in some form of the arts.

We had forgotten the art of using silence to convey emotions in our films and that's what you seem to have mastered. You've used silence to great advantage in the film. It's brilliant.

We had lost the art of communication - but not, alas, the gift of speech.

We had similar interests with Derek Rowan and Paul Hewson; it sounds really pretentious at 12, 13 year old kids were like into art and poetry, but we were. We weren't into football, we were into making music or being into music and painting and stuff like that. And we called this sort of little gang Lypton Village and we made up imaginary games and this is one day we'll form bands and one day we'll make movies and one day we'll do this and one day we'll do that. A lot of kids do this in their own way, except 25, 30 years later legend happens because some of us have become quite well known.

We have all this Paleolithic art that suggests that our ancestors really venerated animals and that they depended on wild animals to survive - as opposed to domesticated animals that we depend on. Would it radically change things if we had more rhinos in our midst? I kind of suspect it would.

... we have almost succeeded in leveling all human activities to the common denominator of securing the necessities of life and providing for their bundance. Whatever we do, we are supposed to do for the sake of "making a living;" such is the verdict of society, and the number of people, especially in the professions who might challenge it, has decreased rapidly. The only exception society is willing to grant is to the artist, who, strictly speaking, is the only "worker" left in a laboring society.

We have always created - music, literature, art, dance. The art around us - or lack of it - may be a measure of how we're doing as individuals and as a civilization, so maybe we should be worried.

We have been so successful in the past century at the art of living longer and staying alive that we have forgotten how to die. Too often we learn the hard way. As soon as the baby boomers pass pensionable age, their lesson will be harsher still.

We have built for this world a family mansion, and the next a family tomb. The best works of art are the expression of man's struggle to free himself from this condition, but the effect of our art is merely to make this low state comfortable and that higher state to be forgotten.

We have basic urges all the time. They just manifest themselves in different scenarios, and we have to turn those weaknesses into our strengths. Art is very much about making your weaknesses your strength.

We have become ninety-nine percent money mad. The method of living at home modestly and within our income, laying a little by systematically for the proverbial rainy day which is due to come, can almost be listed among the lost arts.

We have enough experiences in a day to make art for a decade.

We have defined art as the life form and aesthetic art as the life renewal: the stimulating, animating, agitating, inspiring, inspirational, fermenting, fascinating fanaticising, explosive and outrageous: the renewal of the unknown.

We have heard much about the poetry of mathematics, but very little of it has as yet been sung. The ancients had a juster notion of their poetic value than we. The most distinct and beautiful statements of any truth must take at last the mathematical form. We might so simplify the rules of moral philosophy, as well as of arithmetic, that one formula would express them both.

We have no other means of recognising a work of art than our feeling for it.