A Quote by Lionel Trilling

What marks the artist is his power to shape the material of pain we all have. — © Lionel Trilling
What marks the artist is his power to shape the material of pain we all have.
That's the difference between the serious artist and the craftsman--the craftsman can take material and because of his abilities do a professional job of it. The serious artist, like Proust, is like an object caught by a wave and swept to shore. He's obsessed by his material; it's like a venom working in his blood and the art is the antidote.
Carving is a source of joy to the artist. . . . To attack the raw material, gradually to extract a shape out of it following one's own desire, or, sometimes, the inspiration of the material itself: this gives the sculptor great joy.
The director works as an interpretive artist, but he's still an artist, so you also have to give him room to create and to put his vision of the play or his translation or interpretation of the material on the stage.
The Bible teaches us that God does not cause pain, but that He uses pain and evil to advance His cause and shape His servants.
The most important thing for any con artist is never to think like a mark. Marks think they can get something for nothing. Marks think they can get what they don’t deserve and could never deserve. Marks are stupid and pathetic and sad. Marks think they’re going to go home one night and have the girl they’ve loved since they were a kid suddenly love them back. Marks forget that whenever something’s too good to be true, that’s because it’s a con.
The artist seeks contact with his intuitive sense of the gods, but in order to create his work, he cannot stay in this seductive and incorporeal realm. He must return to the material world in order to do his work. It's the artist's responsibility to balance mystical communication and the labor of creation.
This is Darrow, Inadequately scrawled, with his young, old heart, And his drawl, and his infinite paradox And his sadness, and kindness, And his artist sense that drives him to shape his life To something harmonious, even against the schemes of God.
Just as the orator marks his good things by a dramatic pause, or by raising and lowering his voice, or by gesture, so the writer marks his epigrams with italics, setting the little gem, so to speak, like a jeweler.
The artist's imagination may wander far from nature. But as long as it is a living, moving power in his brain, isn't it just as real as any other natural phenomenon? The artist justifies his existence only when he can transform his imagination into truth.
The soul is the form of the body, but not as the shape of a statue is formatio et terminatio materiae, for form does not exist apart from material. There is no whiteness without a white object. But the soul is not a form in this simple sense, and in particular, is not the shape of the material it informs. Therefore, the shape of a being does not affect the being's soul, for then something lower would inform something higher, which is impossible.
I want to make portraits and images. I don't know how. Out of despair, I just use paint anyway. Suddenly the things you make coagulate and take on just the shape you intend. Totally accurate marks, which are outside representational marks.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy.
Of course Nebraska is a storehouse of literary material. Everywhere is a storehouse of literary material. If a true artist were born in a pigpen and raised in a sty, he would still find plenty of inspiration for his work. The only need is the eye to see.
An artist is only an artist on condition that he neglects no aspect of his dual nature. This dualism is the power of being oneself and someone else at one and the same time.
Art leads to a more profound concept of life, because art itself is a profound expression of feeling. The artist is born, and art is the expression of his overflowing soul. Because his soul is rich, he cares comparatively little about the superficial necessities of the material world; he sublimates the pressure of material affairs in an artistic experience.
If someone took the finest marble and knew how to shape it artfully: Prometheus' material was lowly clay, but his statues walked.
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