A Quote by Jean-Francois Millet
It is the treating of the commonplace with the feeling of the sublime that gives to art its true power.
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True art means if it helps you to become silent, still, joyous; if it gives you a celebration, if it makes you dance—whether anybody participates with you or not is irrelevant. If it becomes a bridge between you and God, that is true art. If it becomes a meditation, that is true art. If you become absorbed in it, so utterly absorbed that the ego disappears, that is true art.
Art is something absolute, something positive, which gives power just as food gives power. While creative science is a mental food, art is the satisfaction of the soul.
Demonstration of mastery gives a feeling of power and that feeling of power is a good feeling.
Fame can be very disruptive. It can be like a drug. It gives you the feeling that you're happy, it gives you the feeling of self-importance, it gives you the feeling of fullfilment; but it can distract you from what is really important.
The arts objectify subjective reality, and subjectify outward experience of nature. Art education is the education of feeling, and a society that neglects it gives itself up to formless emotion. Bad art is corruption of feeling.
Moral beauty is the basis of all true beauty. This foundation is somewhat covered and veiled in nature. Art brings it out, and gives it more transparent forms. It is here that art, when it knows well its power and resources, engages in a struggle with nature in which it may have the advantage.
A sublime religion inevitably generates a strong feeling of guilt. There is an unavoidable contrast between loftiness of profession and imperfection of practice. And, as one would expect, the feeling of guilt promotes hate and brazenness. Thus it seems that the more sublime the faith the more virulent the hatred it breeds.
Anything which elevates the mind is sublime. Greatness of matter, space, power, virtue or beauty, are all sublime.
This is the feeling that gives a man true courage-the feeling that he has a work to do at all costs; the sense of duty.
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.
The characteristic of the hour is that the commonplace mind, knowing itself to be commonplace, has the assurance to proclaim the rights of the commonplace and to impose them wherever it will.
Love is not only a feeling, it is also an art. A simple word, a sensitive precaution, a mere nothing reveal to a woman the sublime artist who can touch her heart without withering it.
What is good? All that heightens the feeling of power, the will to power, power itself. What is bad? All that is born of weakness. What is happiness? The feeling that power is growing, that resistance is overcome.
What is good? All that enhances the feeling of power, the Will to Power, and power itself in man. What is bad? — All that proceeds from weakness. What is happiness? — The feeling that power is increasing — that resistance has been overcome.
I do think there is a link between the accidental art the sciences produce and the deliberate art the artist creates, but I can't help feeling that the innocence of the accidental art of science has a power and curious beauty that artists are hard-pressed to match.
It's possible, in a poem or short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things—a chair, a window curtain, a fork, a stone, a woman's earring—with immense, even startling power.
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