A Quote by Herbert Read

Works of art must persist as objects of contemplation. — © Herbert Read
Works of art must persist as objects of contemplation.
But all categories of art, idealistic or realistic, surrealistic or constructivist (a new form of idealism) must satisfy a simple test (or they are in no sense works of art): they must persist as objects of contemplation.
It may be added, to prevent misunderstanding, that when I speak of contemplated objects in this last phrase as objects of contemplation, the act of contemplation itself is of course an enjoyment.
The starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion we call works of art.
Works of art, in my opinion, are the only objects in the material universe to possess internal order, and that is why, though I don't believe that only art matters, I do believe in Art for Art's sake.
All great art contains at its center contemplation, a dynamic contemplation.
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.
The object of science is knowledge; the objects of art are works. In art, truth is the means to an end; in science, it is the only end. Hence the practical arts are not to be classed among the sciences
It is clear that everybody interested in science must be interested in world 3 objects. A physical scientist, to start with, may be interested mainly in world 1 objects--say crystals and X-rays. But very soon he must realize how much depends on our interpretation of the facts, that is, on our theories, and so on world 3 objects. Similarly, a historian of science, or a philosopher interested in science must be largely a student of world 3 objects.
For contemplation is both the highest form of activity (since the intellect is the highest thing in us, and the objects that it apprehends are the highest things that can be known), and also it is the most continuous, because we are more capable of continuous contemplation than we are of any practical activity.
I can recommend nothing better... than that you endeavor to infuse into your works what you learn from the contemplation of the works of others.
To someone like Zurbaran, who paints still lifes, lemons and pears are the objects of art. But to the electronics engineer who works on the technologies of virtual reality, the whole reality has become the object of art, with a possibility to substitute the virtual with the real.
Realism and Naturalism rely mostly on the eye of the flesh. Abstract, conceptual and surrealistic art rely mostly on the eye of the mind. Great works of art rely on the eye of contemplation, the eye of the spirit.
Found objects, chance creations, ready-mades (mass-produced items promoted into art objects, such as Duchamp's "Fountain"-urinal as sculpture) abolish the separation between art and life. The commonplace is miraculous if rightly seen.
Comprehensibility is the highest law of all. Unity must be there. There must be means of ensuring it. All the things familiar to us from primitive life must also be used in works of art.
The country life is to be preferred, for there we see the works of God; but in cities little else but the works of men. And the one makes a better subject for contemplation than the other.
We at BMW do not build cars as consumer objects, just to drive from A to B. We build mobile works of art.
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