A Quote by Jules Breton
Courbet comes in 1849 with the intention of overthrowing past art and constructing it anew. While he speaks only of realism, of which he proclaims himself the messiah, his pictures show pre-eminently those qualities which are learned in the museums.
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A man possessed of splendid talents, which he often abused, and of a sound judgment, the admonitions of which he often neglected; a man who succeeded only in an inferior department of his art, but who in that department succeeded pre-eminently.
In the past, traditional art was based on making manifest what is enduring in man, like love, jealousy, hatred, envy, and greed... . Today art has to look again at these unchanging qualities, because society is no longer unchanging. It is up to art today to show us what has become of these unchanging qualities in a world which is moving and changing.
My grandfather was a most gifted person, and amongst his many qualities, one of them had always particularly impressed me. While the past was a book he had read and re-read may times, the future was just one more literary work of art into which he used to pour himself with deep thought and concentration. Innumerable people since his death have told me how he used to read in the future, and this certainly was one of his very great strengths.
When one speaks of humanity, the idea is fundamental that this is something which separates and distinguishes man from nature. In reality, however, there is no such separation: "natural" qualities and those called truly "human" are inseparably grown together. Man, in his highest and noblest capacities, is wholly nature and embodies its uncanny dual character. Those of his abilities which are terrifying and considered inhuman may even be the fertile soil out of which alone all humanity can grow in impulse, deed, and work.
The art and architecture of the past that we know is that which remains. The best is that which remains where it was painted, placed or built. Most of the art of the past that could be moved was taken by conquerors. Almost all recent art is conquered as soon as it's made, since it's first shown for sale and once sold is exhibited as foreign in the alien museums. The public has no idea of art other than that it is something portable that can be bought. There is no constructive effort; there is no cooperative effort. This situation is primitive in relation to a few earlier and better times.
Imagination is the Discovering Faculty, pre-eminently ... It is that which feels & discovers what is, the REAL which we see not, which exists not for our senses... Mathematical science shows what is. It is the language of unseen relations between things... Imagination too shows what is ... Hence she is or should be especially cultivated by the truly Scientific, those who wish to enter into the worlds around us!
He [A. J. Balfour] was eminently one of the Cole Porter school of famous men, who only fell to rise again. Picking himself up and brushing himself down became a minor art form, ruefully admired by his contemporaries.
He who has learned what is commonly considered the whole art of painting, that is, the art of representing any natural object faithfully, has as yet only learned the language by which his thoughts are to be expressed.
The judge's authority depends upon the assumption that he speaks with the mouth of others. That is to say, the momentum of his utterances must be greater than any which his personal reputation and character can command, if it is to do the work assigned to it - if it is to stand against the passionate resentments arising out of the interests he must frustrate - for while a judge must discover some composition with the dominant trends of his times, he must preserve his authority by cloaking himself in the majesty of an overshadowing past.
The individual is defined only by his relationship to the world and to other individuals; he exists only by transcending himself, and his freedom can be achieved only through the freedom of others. He justifies his existence by a movement which, like freedom, springs from his heart but which leads outside of himself.
The longing to behold this pre-established harmony [of phenomena and theoretical principles] is the source of the inexhaustible patience and perseverance with which Planck has devoted himself ... The state of mind which enables a man to do work of this kind is akin to that of the religious worshiper or the lover; the daily effort comes from no deliberate intention or program, but straight from the heart.
My intention was to create a work of art which would transcend the visible, which cannot be perceived except in stages, with the understanding that it is a partial revelation and not the perpetuation of the existing. My aim is to show what can be seen within the limits of possibility which exists in the midst of coming into being.
Every man is of importance to himself, and, therefore, in his own opinion, to others; and, supposing the world already acquainted with his pleasures and his pains, is perhaps the first to publish injuries or misfortunes which had never been known unless related by himself, and at which those that hear them will only laugh, for no man sympathises with the sorrows of vanity.
In this initial illimitableness of possibilities that characterizes one who has no nature there stands out only one fixed, pre-established, and given line by which he may chart his course, only one limit: the past.
... the man in the violent situation reveals those qualities least dispensable in his personality, those qualities which are all he will have to take into eternity with him.
Museums have traditionally been places that protect the art object. But in the last 40 years, a new type of museum has emerged - the Kunsthalle or alternative space which only presents temporary, contemporary shows. Yet art is not just about the future - it is about the future and the present, but it also can't forget the past.
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