A Quote by Hippolyte Taine
The production of a work of art is determined by the material and intellectual climate in which a man lives and dies.
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Emancipation of human labor from economic servitude and exploitation, i.e., from organizations of production in which the conditions of work are determined by a master class who own the means of production, and in which the fruits of work are alienated from workers to the benefit of masters.
The ideas of the ruling class are in every epoch the ruling ideas, i.e. the class which is the ruling material force of society, is at the same time its ruling intellectual force. The class which has the means of material production at its disposal, has control at the same time over the means of mental production, so that thereby, generally speaking, the ideas of those who lack the means of mental production are subject to it. The ruling ideas are nothing more than the ideal expression of the dominant material relationships, the dominant material relationships grasped as ideas.
No man, who continues to add something to the material, intellectual and moral well-being of the place in which he lives, is left long without proper reward.
I believe that a picture, a work of art, lives and dies just as we do.
A simple equation for the production of successful art work is lots of reference material plus lots of art supplies equals lots of painting happiness.
A man who lives unrelated to other human beings dies. But a man who lives unrelated to himself also dies.
Production is not something physical, material, and external; it is a spiritual and intellectual phenomenon.
The difference between real material poison and intellectual poison is that most material poison is disgusting to the taste, but intellectual poison, which takes the form of cheap newspapers or bad books, can unfortunately sometimes be attractive.
The current climate doesn't represent a threat to the production of art but to the market. I think it's time for artists to get over auction houses, galleries, and high-production-value exhibitions and start using our voices again.
Real art, like the wife of an affectionate husband, needs no ornaments. But counterfeit art, like a prostitute, must always be decked out. The cause of production of real art is the artist's inner need to express a feeling that has accumulated...The cause of counterfeit art, as of prostitution, is gain. The consequence of true art is the introduction of a new feeling into the intercourse of life... The consequences of counterfeit art are the perversion of man, pleasure which never satisfies, and the weakening of man's spiritual strength.
Let's talk of a system that transforms all the social organisms into a work of art, in which the entire process of work is included... something in which the principle of production and consumption takes on a form of quality. It's a Gigantic project.
I think it's an intellectual duty for a person who lives in a free society to read material not only with which you agree, but with which you disagree. Because every so often somebody you think is wrong will actually turn out to be right.
But ultimately what I was impressed by during my years in government was how much the intellectual climate and the prevailing intellectual notions constrained and represented the universe within which the discourse took place.
A reader lives a thousand lives before he dies, said Jojen. The man who never reads lives only one.
Without freedom, no art; art lives only on the restraints it imposes on itself, and dies of all others.
The good moral work of art should have all the qualities that a good amoral work of art should have, such as formal unity, balance, contrast, and a sensitivity to the material out of which it is made.
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