A Quote by Doug Stanhope
I recommend to you, in my last, an innocent piece of art: that of flattering people behind their backs, in presence of those who, to make their own court, much more than for your sake, will not fail to repeat, and even amplify, the praise to the party concerned. This is of all flattery the most pleasing, and consequently the most effectual.
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Never yield to that temptation, which, to most young men, is very strong, of exposing other people's weaknesses and infirmities, for the sake either of diverting the company, or of showing your own superiority. You may get the laugh on your side by it for the present; but you will make enemies by it for ever; and even those who laugh with you then, will, upon reflection, fear, and consequently hate you.
His system of morality was the most benevolent and sublime probably that has been ever taught, and consequently more perfect than those of any of the ancient philosophers... He was the most innocent, the most benevolent, the most eloquent and sublime character that ever has been exhibited to man.
As far as party primaries are concerned, both Republican - and Democratic - Party primaries are dominated by the most zealous voters, whose views may not reflect the views of most members of
their own respective parties, much less the views of those who are going to vote in the November general election.
Whatever they are, can Comics be "Art"? Of course they can. The "Art" in a piece is something independent of genre, form, or material. My feeling is that most paintings, most films, most music, most literature and, indeed, most comics fail as "Art." A masterpiece in any genre, form or material is equally "good." It's ridiculous to impose a hierarchy of value on art. The division between high and low art is one that cannot be defended because it has no correlation to aesthetic response.
Of such wisdom, the poetic passion, the desire of beauty, the love of art for its own sake, has most. For art comes to you proposing frankly to give nothing but the highestquality toyourmomentsasthey pass,and simply for those moments'sake.
Behind all art is an element of desire...Love of life, of existence, love of another human being, love of human beings is in some way behind all art — even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?
Let's cease thinking of our accomplishments, our wants. Let's try to figure out the other man's good points. Then forget flattery. Give honest, sincere appreciation. Be hearty in your approbation and lavish in your praise, and people will cherish your words and treasure them and repeat them over a lifetime - repeat them years after you have forgotten them.
Excellent flatterers welcome attentive audiences; mighty potentates enjoy public praise. In the most pleasing situation, a flatterer would genuinely admire the flatteree, please that person, please other present company, be pleased to stagger rivals, and get something out of it: applause, promotion, a favor, reciprocal praise. Flattery is as social as a banquet.
I've no doubt that those photographs i took will make people look at everything in a more interesting way - the little tear on one piece of paper, the shadow on another. But good painting has always done that - made you see things. And the most ordinary can be the most extraordinary.
The will of the people, moreover, practically means the will of the most numerous or the most active part of the people; the majority, or those who succeed in making themselves accepted as the majority; type people, consequently, may desire to oppress a part of their number; and precautions are as much needed against this as against any other abuse of power.
People want to know those details. They think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist’s work and their own ability to experience it. Each painting I do says everything I want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. Frankly, as far as I’m concerned, even titling a work is an unnecessary concession.
In university courses we do exercises. Term papers, quizzes, final examinations are not meant for publication. We move through a course on Dostoevsky or Poe as we move through a mildly good cocktail party, picking up the good bits of food or conversation, bearing with the rest, going home when it comes to seem the reasonable thing to do. Art, at those moments when it feels most like art -- when we feel most alive, most alert, most triumphant -- is less like a cocktail party than a tank full of sharks.
We didn't think much in the air corps of a fellow who wangled a cushy job out of his C.O. by buttering him up. It was hard for me to believe that God thought much of a man who tried to wangle salvation by fulsome flattery. I should have thought the worship most pleasing to him was to do your best according to your lights.
We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make revisionist assessments than about those who are being reassessed.
Fortunately for those who pay their court through such foibles, a fond mother, though, in pursuit of praise for her children, the most rapacious of human beings, is likewise the most credulous; her demands are exorbitant; but she will swallow any thing.
There is nothing in the world more difficult than candor, and nothing easier than flattery. If there is a hundredth of a fraction of a false note to candor, it immediately produces dissonance, and as a result, exposure. But in flattery, even if everything is false down to the last note, it is still pleasant, and people will listen not without pleasure; with coarse pleasure, perhaps, but pleasure nevertheless.
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