A Quote by Harold Rosenberg
Imitation of the art of earlier centuries, as that done by Picasso and Modigliani , is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.
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Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.
What goes on in abstract art is the proclaiming of aesthetic principles... It is in our own time that we have become aware of pure aesthetic considerations. Art never can be imitation.
Never hesitate to imitate another writer. Imitation is part of the creative process for anyone learning an art or a craft. Bach and Picasso didn't spring full-blown as Bach or Picasso; they needed models. This is especially true of writing.
Art is not and never has been subordinate to moral values. Moral values are social values; aesthetic values are human values. Morality seeks to restrain the feelings; art seeks to define them by externalizing them, by giving them significant form. Morality has only one aim - the ideal good; art has quite another aim - the objective truth... art never changes.
I carried on buying paintings, works of art, and Yves Saint Laurent, if I may say so, had a right of inspection. We even shared a common reading of the history of art. It would never have crossed Yves's mind to say to me, "Ah, I saw a Pablo Picasso . . ." He knew perfectly well what was interesting with Picasso, as did I.
No theoretician, no writer on art, however interesting he or she might be, could be as interesting as Picasso. A good writer on art may give you an insight to Picasso, but, after all, Picasso was there first.
There is in reality no such thing as modern art. Art is carried on up and down in immense cycles through centuries and civilizations.
It is the mark of great art that its appeal is universal and eternal.............. Great art remains stable and unobscure because the feelings that it awakens are independent of time and place, because its kingdom is not of this world. To those who have and hold a sense of the significance of form what does it matter whether the forms that move them were created in Paris the day before yesterday or in Babylon fifty centuries ago? The forms of art are inexhaustible; but all lead by the same road of aesthetic emotion to the same world of aesthetic ecstasy.
Beyond a narrow, elite audience, there is a pervasive sense from the side of the public that much contemporary art fails to connect - a failure not evident throughout centuries of earlier art.
A unitary urbanism — the synthesis of art and technology that we call for — must be constructed according to certain new values of life, values which now need to be distinguished and disseminated.
I visited the Museum of Modern Art and viewed the exhibition of Picasso's sculptures, and I couldn't help but think about what it would be like to have a room full of school children explore Picasso's approach to making art.
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
I was a very ancient twelve; my views at that age would have done credit to a Civil War veteran. I am much younger now than I was at twelve or anyway, less burdened. The weight of the centuries lies on children, I'm sure of it.
When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment.
There's a point where art is not subjective, and my example for that is Picasso. If you don't like Picasso, that's your problem.
I love art, and I love history, but it is living art and living history that I love. It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigor of the earlier world?
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