Best 114 quotes in «arts quotes» category

I don’t want to re-write the same old book with the same tired techniques. I’d rather bring something new to the table that’s true to me and that people will have a genuine reaction to. That’s the whole point, isn’t it?

If art were everything, it would be a good evil, a worthless treasure, a virtuous vice, a healthy sickness, and a meaningful meaninglessness.

I have never found a solo life is devastated.At times it is lonely.It is a selfish life doing only the things you want to do. That is what the general public are jealous of but are not prepared to take the loneliness to reap the excitement that only solos can accept without having to consider others.

I had brought from Paris the national prejudice against Italian music; but I had also received from nature that acute sensibility against which prejudices are powerless. I soon contracted the passion it inspires in all those born to understand it.

If I was not born as a child clergy, nobles, or knights. So I would be an artist.

I make so many plans but fail at follow-through. Gemini mind once a mat for you to wipe your feet. I’d beg for it. I’d plead 'Here! I’m here waiting for you to be the one. Take my heart, my life, my air: rip them to shreds and hand them back.No need to worry. I have enough superglue and tears to keep me busy for months...

I'm an artist who draws with a brush instead of a arms.

In cities where peace and the arts flourish, men are more consumed by jealousy, worry, and anxiety than they are in cities under the blight of a besieging army. Private sorrows are more bitter than public suffering.

I’m convinced that the arts could be something of a higher power.

In America, applause is won only by physical exertion.

I'm a Joker. Dangerous and silly at the same time.

I think part of the reason escapism is a predominate aspect of American arts—especially cinema—is because that’s what’s in our DNA. Our ancestors came here to avoid whatever was happening where they were originally from. Escapism is literally in our genes.

it's all a popularity contest, which unfortunately often has more to do with good looks rather than actual talent.

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip–and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self.

It's quite simple. I just don't feel right without a pen in my hand denting a hole through my notepad.

It’s so easy to lose faith and become lost in all of the politics of the world. That’s why we need the arts. To sublimate our frustration and anger into something beautiful. Freud called sublimation a virtuous defence mechanism because it is in the arts that we can find our humanity.

It's very hard to reach people in Greymouth with pottery or any form of art because they're allergic to it. Allergic to it ever since they began really because they've taken from the ground in the mining spirit without making or creating, and therefore anything that is creative they do not understand.

It was good to be gay on Top of the Pops years before it was good to be gay in Parliament, or gay in church, or gay on the rugby pitch. And it’s not just gay progress that happens in this way: 24 had a black president before America did. Jane Eyre was a feminist before Germaine Greer was born. A Trip to the Moon put humans on the Moon in 1902. This is why recent debates about the importance of the arts contain, at core, an unhappy error of judgment. In both the arts cuts—29 percent of the Arts Council’s funding has now gone—and the presumption that the new, “slimmed down” National Curriculum will “squeeze out” art, drama and music, there lies a subconscious belief that the arts are some kind of . . . social luxury: the national equivalent of buying some overpriced throw pillows and big candle from John Lewis. Policing and defense, of course, remain very much “essentials”—the fridge and duvets in our country’s putative semi-detached house. But art—painting, poetry, film, TV, music, books, magazines—is a world that runs constant and parallel to ours, where we imagine different futures—millions of them—and try them out for size. Fantasy characters can kiss, and we, as a nation, can all work out how we feel about it, without having to involve real shy teenage lesbians in awful sweaters, to the benefit of everyone’s notion of civility.

I want to be a Renaissance Woman. I want to paint, and I want to write, and I want to act, and I just want to do everything.

Live with art and art will live with you.

London, December 1915. In the master bedroom (never was the estate agent's epithet more appropriate) of Flat 21, Carlyle Mansions, Cheyne Walk, Chelsea, the distinguished author is dying - slowly, but surely. In Flanders, less than two hundred miles away, other men are dying more quickly, more painfully, more pitifully - young men, mostly, with their lives still before them, blank pages that will never be filled. The author is seventy-two. He has had an interesting and varied life, written many books, travelled widely, enjoyed the arts, moved in society (one winter he dined out 107 times), and owns a charming old house in Rye as well as the lease of this spacious London flat with its fine view of the Thames. He has had deeply rewarding friendships with both men and women. If he has never experienced sexual intercourse, that was by his own choice, unlike the many young men in Flanders who died virgins either for lack of opportunity or because they hoped to marry and were keeping themselves chaste on principle.

Many existing top 20 Scottish writers have flourished in part because of good turns done by institutions, arts community, libraries and bookshops.

Many native traditions held clowns and tricksters as essential to any contact with the sacred. People could not pray until they had laughed, because laughter opens and frees from rigid preconception. Humans had to have tricksters within the most sacred ceremonies for fear that they forget the sacred comes through upset, reversal, surprise. The trickster in most native traditions is essential to creation, to birth.

Many people don’t realize the connection between music and literature and I’m here to tell them that it does exist!

In the mainstream of life, to clinch some in-line goals, we wash away the glaze of coated skills yet to unveil.

Men jeg drister mig, uden Vanitet, at sige, at vore Nordiske Tilskuere, helst af Middelstand, ere langt beqvem-mere Dommere herudi, end de Parisiske: Thi hvis de første ikke have saa fiin Smag som de sidste, saa have de den dog ikke saa selsom og fordærved.

Music fountains from purity, travels through serenity and dissolves with tranquility.

Our masters say that real arts never die. Real arts are about remembrance.

It is necessarily so, since every traditional art obeys a particular spiritual economy that limits its themes and means of expression, so that an abandonment of that economy almost immediately releases new and apparently unlimited artistic possibilities.

People who don't love the arts are missing out on the real happiness of life.

Poets must be grounded in the education of the arts, drama, history, mysticism, esotericism, and philosophy. To gain knowledge and become learned of the above is easy - read. Poets should apply this knowledge to their work, so a poet will advance to the next level, to their next phase of their emotional, psychological and spiritual development, growing in years in a short space of time, in hours or months if he or she is an avid reader. This knowledge will birth work that is not meretricious but of noble parentage.

Maybe it's the fact the most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip - and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendant horror is loneliness, excluded encagement in the self. Once we've hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it's stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naivete.

She did draw and paint and did both diligently, but possessed modest talent. She didn't mind. Her gift and passion lay in the observation and recognition of talent and beauty, whether it was found in the work of an Italian master or the profile of a viscount-to-be.

Sum of life's reflections projected by nature and through some forms of intimacy, conceived and appreciated by the soul-beigns - ...art!

Theater is the crucible where we can create the dynamics of life without suffering the flames of their combustion.

The assault on education began more than a century ago by industrialists and capitalists such as Andrew Carnegie. In 1891, Carnegie congratulated the graduates of the Pierce College of Business for being “fully occupied in obtaining a knowledge of shorthand and typewriting” rather than wasting time “upon dead languages.” The industrialist Richard Teller Crane was even more pointed in his 1911 dismissal of what humanists call the “life of the mind.” No one who has “a taste for literature has a right to be happy” because “the only men entitled to happiness… is those who are useful.” The arrival of industrialists on university boards of trustees began as early as the 1870s and the University of Pennsylvania’s Wharton School of Business offered the first academic credential in business administration in 1881. The capitalists, from the start, complained that universities were unprofitable. These early twentieth century capitalists, like heads of investment houses and hedge-fund managers, were, as Donoghue writes “motivated by an ethically based anti-intellectualism that transcended interest in the financial bottom line. Their distrust of the ideal of intellectual inquiry for its own sake, led them to insist that if universities were to be preserved at all, they must operate on a different set of principles from those governing the liberal arts.

The art of the good art is to reach the beyond of the beyond!

The beauty of art is that it comes from the heart.

The arts vividly illustrate the fact that neither words in their literal form nor numbers exhaust what we can know. The limits of our language do not define the limits of our cognition.

The data on the economic utility of artists is really, really strong. Artists and entrepreneurs are the same people...and of course entrepreneurs are the people who provide all of the vision for the entire capitalist system. They're absolutely necessary. But conservatives tend to be so blind to art that they can't even see that the artists are the ones who drive the economy forward!

The Christian should be the man with the flaming imagination and the beauty of creation.

The fine arts are one of the most sensitive mirrors of society and culture of which they are an important part. What society and culture are, such will their fine arts be. If the culture is predominantly sensate, sensate also will be its dominant fine arts. If the culture is unintegrated, chaotic and eclectic also will be its fine arts. Since contemporary Western culture is predominantly sensate, and since the crisis consists in the disintegration of its dominant supersystem, so the contemporary crisis in the fine arts must also exhibit a desintegration of the sensate form of our painting and sculpture, music, literature, drama and architecture.

The first few weeks of school were always surreal, like you landed on an alien planet with strange teachers and unfamiliar classrooms, even though the lockers and cafeteria seemed familiar.

The point is, art never stopped a war and never got anybody a job. That was never its function. Art cannot change events. But it can change people. It can affect people so that they are changed... because people are changed by art – enriched, ennobled, encouraged – they then act in a way that may affect the course of events... by the way they vote, they behave, the way they think.

The Magician makes the visible, invisible. The Scientist makes the invisible, visible. The Artist stands in between, indivisible.

The glamorous life is a facade, a fraud a farce of frivolous trite The storybook is blank inside Chivalry has died

The kingdom of God works in all spheres of culture, whether church, family, education, government, arts, business, or media. It is time to stop operating under the mindset that these spheres ought to be separated into secular and Christian, hoarding all the ‘sanctified spheres’ into the church, thereby leaving the world struggling in a vacuum of death. When we suck all the living water into the church, the world is left to die of thirst.

The movies often show an honest and good man winning over evil all the time. The reality is not that simple or one-sided. The fictions of movies and arts perpetuate and exploit our beliefs rather than letting us know the truth.

The proliferation of creative power can transform the world for all of its inhabitants.

The question that we need to ask about the future is: can robots understand and appreciate the arts?