Quotes About Art

Pour juger de la beauté d'un ouvrage, il suffit de le considérer en lui-même ; mais, pour juger du mérite de l'auteur, il faut le comparer à son siècle

Totul e provizoriu: Dragostea, arta, planeta P?mânt, voi, eu. Moartea e atât de inevitabil?, încât îi ia pe to?i prin surprindere. Cum po?i ?ti dac? ziua asta nu e ultima? Crezi c? ai tot timpul. ?i, pe urm?, dintr-odat?, s-a zis, te îneci, sfâr?itul timpului regulamentar. Moartea este singura întâlnire pe care nu o ai notat? în agend?.

A cuánta gente habrá salvado la vida Mozart?

Musik ist denkender Lärm.

I tell my piano the things I used to tell you

Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.

I tell you piano the things I used to tell you

Prostota to ostatnie osi?gni?cie. Po zagraniu ogromnej ilo?ci nut i wi?kszej ilo?ci nut, prostota staje si? ukoronowaniem sztuki. (Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.)

Una mujer que me hubiese amado hubiera deseado mi gloria. Me habría enseñado que el arte de vivir consiste en sacrificar una baja pasión por una más alta.

Me había convertido en un maestro en el arte de destruir todo sentimiento en ese minuto exacto en que la voluntad desempeña un papel decisivo en el amor, cuando, al borde de la pasión, nos hallamos aún en libertad de abandonarla o lanzarnos a ella.

Three films a day, three books a week and records of great music would be enough to make me happy to the day I die.

I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.

The art of creating suspense is also the art of involving the audience, so that the viewer is actually a participant in the film.

I warmly recommend to you the films of poets.

Anyone can be a film critic. The apprentice supposedly need not possess a tenth of the knowledge that would be demanded of a critic of literature, music or painting. A director must live with the fact that his work will be called to judgment by someone who has never seen a film of Murnau's.

I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between; I am not interested in all those films that do not pulse.

A good description of photography necessitates that one treat it as an essence unto itself; not as an event either of the World or of philosophy, or as a syncretic sub-product of modern science and technology; that one recognize the existence, not just of a photographic art, but of an authentic photographic thought; the existence, beyond the components of technology and image production, of a certain specific relation to the real, one which knows itself as such.

Finally, Vienna was the only city in the world in which artists and intellectuals made no attempt to revolt against the bourgeois élite. On the contrary, they remained for a long time perfectly integrated with it. Together they formed a coherent and complete stratum of society in which everyone knew everyone else, and all were united in cultivating 'art for art's sake'.

Participation in the creative processes of theatre is the best way to reveal the human being, and through this to understand one's self and one's society.

A Chinese poet many centuries ago noticed that to re-create something in words is like being alive twice.

his knack for catching human idiosyncrasies betrayed by pose, dress or movement. A biography allows us to travel with him through time and to gain some idea of how his many experiences stimulated and enriched his art.

So much is spoken about music and so little is said. For my part I do not believe that words suffice for such a task, and if they did I would no longer make any music. . . . The thoughts that are expressed to me by the music I love are not too vague to put into words but, on the contrary, too precise.

La plume à droite. Le cœur à gauche. Et toi partout.

This integrated approach to painting, philosophy, and science lay at the heart of Leonardo's project. And yet we find it easier to simply marvel at the work of "his hand" than to understand this work as the lost way of comprehending the world that it in fact is.