A Quote by Philip Larkin

I think that at the bottom of all art lies the impulse to preserve. — © Philip Larkin
I think that at the bottom of all art lies the impulse to preserve.
There is only one honest impulse at the bottom of Puritanism, and that is the impulse to punish the man with a superior capacity for happiness.
I see lies everywhere - switch on the television, it's lies. Everything is lies. In the art world or science community, we are intellectuals, people who research, who are interested in learning and thinking. I think the level of lies is way lower than when you step into what I call "the outside world".
Many a one commits a reprehensible action, who is at bottom an honourable man, because man seldom acts upon natural impulse, but from some secret passion of the moment which lies hidden and concealed within the narrowest folds of his heart.
My activism is a result of my love. So whether it's trying to preserve the wilderness in Southern Utah or writing about an erotics of place, it is that same impulse - to try to make sense of the world, to try to preserve something that is beautiful, to ask the tough questions, the push the boundaries of what is acceptable.
Great ages of art come only when a widespread creative impulse meets an equally widespread impulse of sympathy . . .
I think it was Roger Fry who first coined what he took to be a final definition of a work of art, whether it was a painting, building, poem or Hepplewhite chair. He said that the best works of art are finished products that preserve 'a valuable state of mind'.
The art of living is the art of knowing how to believe lies. The fearful thing about it is that, not knowing what truth may be, we can still recognize lies.
Tokenism does not change stereotypes of social systems but works to preserve them, since it dulls the revolutionary impulse.
I believe Picasso's success is just one small part of the broader modern phenomenon of artists themselves rejecting serious art- perhaps partly because serious art takes so much time and energy and talent to produce-in favor of what I call `impulse art': art work that is quick and easy, at least by comparison.
Institutions are essential in order to preserve the achievement of the past, but the original creative impulse in every age comes from the amateur, the rebel, the breaker of idols.
There is always a multitude of reasons both in favor of doing a thing and against doing it. The art of debate lies in presenting them; the art of life lies in neglecting ninety-nine hundredths of them.
The party impulse is a very subversive impulse. I mean, you know, a lot of artists have too much integrity to sell their art as a brand; but who has so much integrity that they would turn down a party?
Minimalism itself had a very strong iconoclast impulse. You think of the sixties as loose and liberated, but in art it was actually quite the contrary.
There were lots of lies along the way in life. Lies without arms, lies that were ill, lies that did harm, lies that could kill. Lies on foot, or behind the wheel, black-tie lies, and lies that could steal.
The creative process lies not in imitating, but in paralleling nature - translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.
I think first we have to begin by telling the truth, which I think has actually been a big stumbling block. We can look at Donald Trump and see how he lies, but I think we also have to look at some of the lies we've told ourselves and the lies we've accepted and internalized ourselves.
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