A Quote by Henri Frederic Amiel
The art which is grand and yet simple is that which presupposes the greatest elevation both in artist and in public.
Related Quotes
I believe that both art and the human striving for cognitive comprehension are manifest forms of the grand game in which nothing more is stipulated than the game's rules; both art and actively solicited perceptions are but special cases of the recurring creative act to which we owe our existence.
What is the central core of the subject [computer science]? What is it that distinguishes it from the separate subjects with which it is related? What is the linking thread which gathers these disparate branches into a single discipline. My answer to these questions is simple -it is the art of programming a computer. It is the art of designing efficient and elegant methods of getting a computer to solve problems, theoretical or practical, small or large, simple or complex. It is the art of translating this design into an effective and accurate computer program.
Art is a creative effort of which the wellsprings lie in the spirit, and which brings us at once the most intimate self of the artist and the secret concurrences which he has perceived in things by means of a vision or intuition all his own, and not to be expressed in ideas and in words-expressible only in the work of art.
Every artist is linked to a mistake with which he has a particular intimate relation. There is the mistake of Homer, of Shakespeare — which is perhaps, for both, the fact of not existing. Every art draws its origin from an exceptional fault, every work is the implementation of this original fault, from which come to us a new light and a risky conception of plenitude.
The public is the tribunal before which all art is judged - not the critics or the academies. The public is the artist's only patron, and has certain fundamental rights. It will submit to education, and will respond to suggestion, but it will not be bullied.
I am preoccupied with the possibility of creating art which functions in a public situation without compromising its private character of being antiheroic, antimonumental, antiabstract, and antigeneral. The paradox is intensified by the use on a grand scale of small-scale subjects known from intimate situations--an approach which tends in turn to reduce the scale of the real landscape to imaginary dimensions.
A desire presupposes the possibility of action to achieve it; action presupposes a goal which is worth achieving.
Astrology presupposes that the heavenly bodies are regulated in their movements in harmony with the destiny of mortals: the moral man presupposes that that which concerns himself most nearly must also be the heart and soul of things.
The Best of the artist's art, which will one day be in a Museum wall, the Painting that sets the artist apart of all other artist artists.
Art is nothing tangible. We cannot call a painting 'art' as the words 'artifact' and 'artificial' imply. The thing made is a work of art made by art, but not itself art. The art remains in the artist and is the knowledge by which things are made.
It ought to be illegal for an artist to marry. If the artist must marry let him find someone more interested in art, or his art, or the artist part of him, than in him. After which let them take tea together three times a week.
The public needs art - and it is the responsibility of a 'self-proclaimed artist' to realize that the public needs art, and not to make bourgeois art for a few and ignore the masses.
If the paying public demands naturalistic art, then an artist can use his skills to produce such pictures - but these are to be clearly distinguished from the artist's own art.
What is the elevation of the soul? A prompt, delicate, certain feeling for all that is beautiful, all that is grand; a quick resolution to do the greatest good by the smallest means; a great benevolence joined to a great strength and great humility.
There is a kind of elevation which does not depend on fortune; it is a certain air which distinguishes us, and seems to destine us for great things; it is a price which we imperceptibly set upon ourselves.
The trouble with science fiction is that you can write about everything: time, space, all the future, all the past, all of the universe, any kind of creature imaginable. That's too big. It provides no focus for the artist. An artist needs, in order to function, some narrowing of focus. Usually, in the history of art, the narrower the focus in which the artist is forced to work, the greater the art.
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