A Quote by Chico Buarque

Some people thought I was using my popularity as a singer to sell my first novel. For others, it was almost a sacrilege: a practitioner of a minor art daring to enter the field of high art.
The novel is the first art form that is an honest-to-god commodity. That's what makes it different from both high art and folk art.
Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
Perhaps there lives some dreamy boy, untaught In schools, some graduate of the field or street, Who shall become a master of art, An admiral sailing the high seas of thought Fearless and first, and steering with his fleet For lands not yet laid down in any chart.
Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art.
People, certainly in the U.K., look down on screenwriting as an art form, but I love the discipline of it. Next to the bagginess of novel writing, it almost feels like a martial art.
The art of the novel, however, has fallen into such a state of stagnation - a lassitude acknowledged and discussed by the whole of critical opinion - that it is hard to imagine such an art can survive for long without some radical change. To many, the solution seems simple enough: such a change being impossible, the art of the novel is dying.
I found so-called great art too pompous, too stiff. What at this time was called minor art was freer, more imaginative, more open to all kinds of unorthodox expression, all kinds of daring in the handling of materials, and I preferred to surround myself with this type of art than with the great collectors' pieces. I had always in my mind that I was collecting for learning.
And I do think that good art - the art that tends to last - is that art that hits human beings on several different levels at once because everybody's different. Some people approach art through their emotions, others through their head, and the art that can appeal to all of those levels is more likely to reach more people. Having more people see the work doesn't necessarily mean better art but it stands a better chance of lasting.
The price we sell things for is not important. What is important is we sell art that has to be replaced. You become good in art by doing art. The more you sell, the more you must produce.
The mathematician's best work is art, a high perfect art, as daring as the most secret dreams of imagination, clear and limpid. Mathematical genius and artistic genius touch one another.
Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression. Art is a human activity- that one man consciously by means of certain external signs, hands on to others feelings he has lived through, and that others are touched by these feelings and also experience them.
A lot of us have all sorts of ideas, and we select some rather than others and give expression to those... and some works of art are more successful than others. Some languish in obscurity and are never heard of again, while others form the foundation of a whole school of art.
Making art is dealing with people on your own terms. The ideal way of using people is using them like clay, but that being out of the question, except for lunatics and leaders, art is a good alternative.
I never expected to sell my art. It wasn't like today where you come out of art school and they promise you a future. Now it's almost regulated in a way. When we came out of school, we just wanted to make art that'd blow your hair back and do it for sport. There was no commercial possibility that we saw.
I had always said to myself that forty was the cut off point of my apprenticeship which may for some people sound like a very long one, but the novel as art is a middle-aged art.
Intellectual culture seems to separate high art from low art. Low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. High art is people driving in Volvos and talking a lot. I just don't want to keep those things separate. I think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. I'm trying to not exclude high and low art or separate them.
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