Quotes About Art

Was that a prophecy?" Sunny said hopefully. "Did you see us changing the world? Like, five eggs to hatch on brightest night, five dragons born to teach history and art and get everyone to calm down and be nice to each other?" Moon laughed. "When the school has lasted twenty years, the tribes will be at peace?

Cinema is a collaboration where everyone tries to erase everyone else's work.

Two of his pictures had been seen at the first show in 1910, "La Fillette à la corbeille fleurie" and the modest "Clovis Sagot";

To paint and nothing more. And to paint seeking a new expression, divested of useless realism, with a method linked only to my thought—without enslaving myself or associating myself with objective reality. Neither the good nor the true; neither the useful nor the useless. It is my will that takes form outside of all extrinsic schemes, without considering what the public or the critics will say.

Three days later he burst out in a completely new direction: seven drawings transport the "Déjeuners" to the Golden Age, and they are a joy to see, for Picasso was the draughtsman of the world, and the first is as lovely as anything in his long career.

Since Fry had helped to write the catalog he was obliged to be civil: The Times was not. Having dealt with Matisse, the paper said, the art of M. Picasso is a very different matter. He, too, is not a charlatan, but we do not believe that he is an artist of narrow and intense originality like M. Matisse. Rather he seems to us to be by nature extremely imitative, and to have endeavoured to preserve himself from imitation by the pursuit

None of this depressed Picasso, nor yet Kahnweiler: there is a kind of abuse that is a guarantee of excellence and almost of success, for surely people do not utter such shrill and vehement protests unless some Freudian resistance is at work—unless at some level they are aware of the validity of what they see.

often an unfinished picture is all the more interesting for the bare canvas.

But there were also men of far greater value who were drawn to Cubism, men whose language was paint or sculpture: among them Léger, Picabia, Delaunay, La Fresnaye, Le Fauconnier, Dufy for a while and Friesz, Lhote, Kisling, Herbin of the Bateau-Lavoir, Survage, Marcoussis, Diego Rivera, Mondrian, Archipenko, Brancusi, Lipchitz, and perhaps the most important of them all, the three brothers Jacques Villon, Duchamp-Villon, and Marcel Duchamp.

It has been said that in the "Jeune fille à la mandoline" Picasso was getting the best of several worlds, and certainly he makes use both of immediate and of remote symbols in what even the most sullen and dogged opponents of Cubism confess to be a

These prints carry on naturally, perhaps inevitably, to Picasso's most important work of 1935, the "Minotauromachie.

making a film with Georges Clouzot, Le Mystère Picasso.

Braque was right in saying, "The only thing that matters about a painting is what cannot be explained." Assertions that the picture is moving accomplish nothing, and the only hope of conveying some ghost of the feeling lies in description.

Matisse said, "A work of art must, both for the businessman and for the artist, be a mental tranquilizer, something in the nature of an armchair that gives him ease and comfort after bodily fatigue.

Horta de Sant Joan

Sometimes it is used to mean the mere copying of a mannerism, direct theft, and sometimes it hovers ambiguously over a wide area; but there is a strong case for the assertion that no man can be influenced—influenced to the degree of producing a valid work of art and not a mere pastiche—by anything that is not at least latent in his mind.

The twenty years have nearly passed, and soon perhaps the voice of authority, speaking through Le Corbusier, will be heard: but so far the UNESCO picture is not looked upon as one of Picasso's successes.

Human beings have speculated about the relationship between inspiration and insanity for centuries.

Fiction should always steer clear of political considerations.

Poetry is a sort of homecoming.

He was eager to tell me about his latest work, which consisted of him vomiting on a footpath, then cordoning it off. Each artwork lasted until the first 'philistine' thought to take the rope down. 'In that way, the philistine is drawn – whether he likes it or not – into my art. He becomes part of it…and the vomit part of him. Essentially, it is the cosmic vomit. We all spew it. It blurs the boundaries, subverts the liminal…

hand. Here was a Catholic counterpart to Brooks and Warren, shifting the emphasis away from the artist and toward the work of art. An

The whirligig featured a drummer, a trumpet player, a clarinetist, and a man with a trombone. It was a leap beyond the spouting whale, with more figures, a six-bladed propeller, and a much more complex system of rods and pivots that made the instruments dip and rise as if the musicians were marching.

On one university campus there is a fifty-foot-tall pair of leaning tubes, ten feet in diameter, painted various shades of red and orange, and apparently struggling with each other. The maker has named it The Covenant. Students wisely call it Dueling Tampons.