A Quote by Friedrich Durrenmatt

Every work of art depicts an aspect of reality. — © Friedrich Durrenmatt
Every work of art depicts an aspect of reality.
Is there in every work of art something which shows reality as one and also something which shows reality as many and diverse? - must every work of art have a simultaneous presence of oneness and manyness, unity and variety?
It occurred to me that every work of art is a synecdoche, there's no way around it. Every creative work that someone does can only represent an aspect of the whole of something. I can't think of an exception to that.
Reality is an aspect of property. It must be seized. And investigative journalism is the noble art of seizing reality back from the powerful.
People for whom art is religion can say, "What I love about art is that it points to a higher reality." Well, fine, but the time comes when the smart thing for such a person to do is to let go of the fun of the art and get into the hard work of attaining and understanding that higher reality, unmixed with worldly games.
Every work of art is an abstraction from time; it denies the reality of change and decay and death.
The world of fiction is a sovereign world that comes to life in the author's head and follows the rules of art, of literature. And that is the major difference that is reflected in the form of the work, in its language and its plot. An author invents every aspect of a fiction, every detail.
Every great work of art should be considered like any work of nature. First of all from the point of view of its aesthetic reality and then not just from its development and the mastery of its creation but from the standpoint of what has moved and agitated its creator.
Since consciousness is the basis of all reality, any shift in consciousness changes every aspect of our reality. Reality is created by consciousness differentiating into cognition, moods, emotions, perceptions, behavior, speech, social interactions, environment, interaction with the forces of nature, and biology. As consciousness evolves, these different aspects of consciousness also change.
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.
I think that nudity is beautiful. Sometimes it can be awful, but when it's beautiful? Cinema is the art about reality; it's art from reality. In French we say l'art de la realite. You show reality, so you have to show bodies.
I think that, every individual you invent in narrative work, you have to have some root in who that person is. That may be an aspect of yourself; it may be an aspect of something that you like, that you don't like. It may be an aspect that you wish you had. Maybe something you admire in another person.
Movement is the translation of life, and if art depicts life, movement should come into art, since we are only aware of living because it moves.
Every single work of art is the fulfillment of a prophecy; for every work of art is the conversion of an idea into an image.
All real art is, in its true sense, religious; it is a religious impulse; there is no such thing as a non-religious subject. But much bad or downright sacrilegious art depicts so-called religious subjects.
Religion is in every aspect of art, when it's not baroque.
We cannot appreciate the art of any age without first acquiring an equivalent of the experience it depicts.
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