Quotes About Aesthetic

Putting lights in Wrigley Field is like putting aluminum siding on the Sistine Chapel.

So much of my aesthetic was formed by my dad.

A bien calculer quand on songe, c'est peut-être ça L'Espérance ? Et l'avenir esthétique aussi ! Des guerres qu'on saura plus pourquoi !... De plus en plus formidables ! Qui laisseront plus personne tranquille !... que tout le monde en crèvera... deviendra des héros sur place... et poussière par-dessus le marché !... Qu'on débarrassera la Terre... Qu'on a jamais servi à rien... Le nettoyage par l'Idée...

No other art can compare with cinema in the force, precision, and starkness with which it conveys awareness of facts and aesthetic structures existing and changing within time.

If only — so he thought to himself later — Gerda's face had been a little less flawless in its beauty, the beauty of her body would have remained as maddening to his senses as it was at the beginning. But the more he had seen of her the more beautiful her face had grown; until it had now reached that magical level of loveliness which absorbs with a kind of absoluteness the whole aesthetic sense, paralysing the erotic sensibility.

Children's aesthetic sense is a deep half-animal feeling and when it is outraged it leaves a wound behind it that never quite heals up.

If I was asked to get rid of the Zen aesthetic and just keep one quality necessary to create art, I would say it's trust. When you learn to trust yourself implicitly, you no longer need to prove something through your art. You simply allow it to come out, to be as it is. This is when creating art becomes effortless. It happens just as you grow your hair. It grows.

After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.

Somehow, stars have a lot of class if they are done right; they never have a shelf life.

It may be that the best we can hope for when it comes to utopias is that they be held at arm's length and regarded as aesthetic constructions, in which various proportions are neatly worked out, contradictions eliminated, and outside intrusions minimized. They are fictions, artifacts of culture. And we should be wary if they ever become much more.

To appreciate art, the observer must adopt a special attitude of mind; the same attitude required by Plato, of detachment from personal concerns, so that the work of art can be appreciated in contemplative fashion uncontaminated by personal needs or preoccupations.

Reading his account leaves one with the impression that being taken out of oneself, forgetting oneself as an individual, as he puts it, invariably leads to a contemplative state from which all passion is absent. In fact, he describes the aesthetic attitude as an objective frame of mind, as if stepping into another world, 'where everything that moves our will, and thus violently agitates us, no longer exists'.20

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

Only when poetry is read can it become a hobby, a habit, a daily necessity. Only so can it become 'literature', enjoyment of which is no longer confined to the solemn moments of life or to special festivities, but which may be drawn upon as desired merely to pass the time of day. Poetry thus loses the last remnant of its numinous character and becomes mere 'fiction', mere invention which can arouse aesthetic interest without claiming any element of conviction

But if Cravaggio really is the first master of modern age to be slighted by reason of his artistic worth, then the baroque signifies an important turning point in the relationship between art and the public - namely, the end of the "aesthetic culture" which begins with the Renaissance and the beginning of the more rigid distinction between content and form in which formal perfection no longer serves as excuses for any ideological lapse.

There is always something about our feeling for beautiful things which can neither be described nor communicated, which is unshared and unshareable.

I think every city and every drag queen has a different aesthetic or set up, but in the end, it's mutual respect for one another.

I'm so unmaterialistic in every way. If you saw my apartment, it would explain a lot, I think. It's not so much a mess, but it just needs to have some feng shui or a real 'Queer Eye' makeover or whatever.

I'm attracted to the rag & bone aesthetic - classic and effortless with an edge.

There's a whole range of words that people use about landscape. Pastoral? Idyll? I can't stand them.

I've generally got a good eye for design and proportion.

Although people often equate them, glamour is not the same as beauty, stylishness, luxury, celebrity, or sex appeal. It is not limited to fashion or film; nor is it intrinsically feminine. It is not a collection of aesthetic markers - a style, as fashion and design use the word.

Insight into the origin of a work concerns the physiologists and vivisectionists of the spirit; never the aesthetic man, the artist!

Beauty must appeal to the senses, must provide us with immediate enjoyment, must impress us or insinuate itself into us without any effort on our part.