A Quote by Jules Renard

In morals, always do as others do; in art, never. — © Jules Renard
In morals, always do as others do; in art, never.
Thoughts and emotions which never perhaps were in the mind of the artist, never were anticipated, never were intended by him - may be strongly suggested by his work. This is an important part of the morals of art, which we must never lose sight of. Art is not only for pleasure and profit, but for good and for evil.
Morals consist of political morals, commercial morals, ecclesiastical morals, and morals.
Spending money on art has always been frowned upon in this country - even earlier, when my and others' paintings cost almost nothing. Something is always more important. The people in charge are always peddling reasons that others seem to accept. Those who don't drink and aren't crazy, or who don't attract attention with how they behave in public, aren't noticed in art.
A lot of us have all sorts of ideas, and we select some rather than others and give expression to those... and some works of art are more successful than others. Some languish in obscurity and are never heard of again, while others form the foundation of a whole school of art.
Yet again, the more you strive for some kind of perfection or mastery—in morals, in art or in spirituality—the more you see that you are playing a rarified and lofty form of the old ego-game, and that your attainment of any height is apparent to yourself and to others only by contrast with someone else's depth or failure.
Much of modern art is devoted to lowering the threshold of what is terrible. By getting us used to what, formerly, we could not bear to see or hear, because it was too shocking, painful, or embarrassing, art changes morals.
Science is out of the reach of morals, for her eyes are fixed upon eternal truths. Art is out of the reach of morals, for her eyes are fixed upon things beautiful and immortal and ever-changing.
The best laws cannot make a constitution work in spite of morals; morals can turn the worst laws to advantage. That is a commonplace truth, but one to which my studies are always bringing me back. It is the central point in my conception. I see it at the end of all my reflections.
It is not for me to enforce my morals on others.
Experience is no more transferable in morals than in art.
A great work of art is one that truly moves and inspires you. You yourself must be moved. Don't look at art with others' eyes. Don't listen to music with others' ears. You must react to art with your own feelings, your own heart and mind.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
Whoever wants to be a leader should educate himself before educating others. Before preaching to others he should first practice himself. Whoever educates himself and improves his own morals is superior to the man who tries to teach and train others.
Ah, but art and trouble go hand in hand. If you cannot be troubled to create art from your heart, then your art will never trouble the heart of others.
My plan was to never get married. I was going to be an art monster instead. Women almost never become art monsters because art monsters only concern themselves with art, never mundane things. Nabokov didn't even fold his own umbrella. Vera licked his stamps for him.
He who discommendeth others obliquely commendeth himself (Christian morals).
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