A Quote by Johann Wolfgang von Goethe
Each has his own happiness in his hands, as the artist handles the rude clay he seeks to reshape it into a figure; yet it is the same with this art as with all others: only the capacity for it is innate; the art itself must be learned and painstakingly practiced.
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Whoever accepts the higher mission of art and comes nearer and nearer to it through his creative activity, will then go on from art to the Spirit deep within his own self... The philosophic search for enlightenment and the artist's search for perfection of work can meet and unite. Art can be a path to spiritual enlightenment but not to complete and lasting enlightenment. It can be born out of, and can give birth itself to, only Glimpses. For art is a search for beauty, which by itself is not enough. Beauty must be supported by virtue and both require wisdom to guide them.
Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purpose through him. As a human being he may have moods and a will and personal aims, but as an artist he is "man" in a higher sense— he is "collective man"— one who carries and shapes the unconscious, psychic forms of mankind.
I deny that art can be taught, or, in other words, maintain that art is completely individual, and that the talent of each artist is but the result of his own inspiration and his own study of past tradition.
Everyone holds his fortune in his own hands, like a sculptor the raw material he will fashion into a figure. But it's the same with that type of artistic activity as with all others: We are merely born with the capability to do it. The Skill to mold the material into what we want must be learned and attentively cultivated.
The artist's business is to take sorrow when it comes. The depth and capacity of his reception is the measure of his art; and when he turns his back on his own suffering, he denies the very laws of his being and closes the door on everything that can ever make him great.
He that seeks popularity in art closes the door on his own genius: as he must needs paint for other minds, and not for his own.
With only one life to live we can't afford to live it only for itself. Somehow we must each for himself, find the way in which we can make our individual lives fit into the pattern of all the lives which surround it. We must establish our own relationships to the whole. And each must do it in his own way, using his own talents, relying on his own integrity and strength, climbing his own road to his own summit.
It is a truism that as long as man loves but himself and his art he can never attain to the full measure of manhood or reach the sublimest heights of his art. He must seek to love men as brothers and art, not for the sake of art itself, but art as a means toward bringing all men up to that verdant plateau where their souls may be fed in very rejoicing in all that is true, beautiful, and abiding.
The art of an artist must be his own art. It is... always a continuous chain of little inventions, little technical discoveries of one's own, in one's relation to the tool, the material and the colors.
The art of an artist must be his own art. It is... always a continuous chain of little inventions, little technical discoveries of ones own, in ones relation to the tool, the material and the colors.
I know now that he who hopes to be universal in his art must plant in his own soil. Great art is like a tree, which grows in a particular place and has a trunk, leaves, blossoms, boughs, fruit, and roots of its own. The more native art is, the more it belongs to the entire world, because taste is rooted in nature. When art is true, it is one with nature. This is the secret of primitive art and also of the art of the mastersMichelangelo, Czanne, Seurat, and Renoir. The secret of my best work is that it is Mexican.
No generation is interested in art in quite the same way as any other; each generation, like each individual, brings to the contemplation of art its own categories of appreciation, makes its own demands upon art, and has its own uses for art.
In literary art, as in the art of the architect, the painter, the musician, signs that the artist is thinking of his own achievement more than of his subject always offend me.
But not only medicine, engineering, and painting are arts; living itself is an art in fact, the most important and at the same time the most difficult and complex art to be practiced by man.
If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.
The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.
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