A Quote by Robert Henri
Each man must take the material that he finds at hand, see that in it there are the big truths of life, the fundamentally big forces, and then express in his art whatever is the cause of his pleasure.
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A painter, who finds no satisfaction in mere representation, however artistic, in his longing to express his inner life, cannot but envy the ease with which music, the most non-material of the arts today, achieves this end. He naturally seeks to apply the methods of music to his own art.
In whatever area in life one may meet the challenges of courage, whatever may be the sacrifices he faces if he follows his conscience - the loss of his friends, his fortune, his contentment, even the esteem of his fellow men - each man must decide for himself the course he will follow. The stories of past courage can define that ingredient - they can teach, they can offer hope, they can provide inspiration. But they cannot supply courage itself. For this each man must look into his own soul.
Real art, like the wife of an affectionate husband, needs no ornaments. But counterfeit art, like a prostitute, must always be decked out. The cause of production of real art is the artist's inner need to express a feeling that has accumulated...The cause of counterfeit art, as of prostitution, is gain. The consequence of true art is the introduction of a new feeling into the intercourse of life... The consequences of counterfeit art are the perversion of man, pleasure which never satisfies, and the weakening of man's spiritual strength.
There is no Sixth Commandment in art. The poet is entitled to lay his hands on whatever material he finds necessary for his work.
Just as one must learn the art of killing in the training for violence, so one must learn the art of dying in the training for non-violence. Violence does not mean the emancipation from fear, but discovering the means of combating the cause of fear. Nonviolence, on the other hand, has no cause for fear. The votary of nonviolence has to cultivate the capacity for sacrifice of the highest type in order to be free from fear. He recks not if he should lose his land, his wealth, his life.
Whatever man may stand, whatever he may do, to whatever he may apply his hand - in agriculture, in commerce, and in industry, or his mind, in the world of art, and science - he is, in whatsoever it may be, constantly standing before the face of God. He is employed in the service of his God. He has strictly to obey his God. And above all, he has to aim at the glory of his God.
Let the watchwords of all our people be the old familiar watchwords of honesty, decency, fair-dealing, and commonsense."... "We must treat each man on his worth and merits as a man. We must see that each is given a square deal, because he is entitled to no more and should receive no less.""The welfare of each of us is dependent fundamentally upon the welfare of all of us.
Each man has to work out his own understanding of what needs to be done, and then prepare himself to take advantage of the opportunity to succeed in a big way.
In every human being there is the artist, and whatever his activity, he has an equal chance with any to express the result of his growth and his contact with life. I don't believe any real artist cares whether what he does is 'art' or not. Who, after all, knows what art is?
...art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition - otherwise life becomes impossible! Art symbolises the meaning of our existence.
Many people correctly make the point that our only hope is to turn to God. For example, Charles Lindbergh, who said that in his young manhood he thought "science was more important than either man or God," and that "without a highly developed science modern man lacks the power to survive," . . . went to Germany after the war to see what Allied bombing had done to the Germans, who had been leaders in science. There, he says, "I learned that if his civilization is to continue, modern man must direct the material power of his science by the spiritual truths of his God."
Out of the best and most productive years of each man's life, he should carve a segment in which he puts his private career aside to serve his community and his country, and thereby serve his children, his neighbours, his fellow men, and the cause of freedom.
Modern man lives isolated in his artificial environment, not because the artificial is evil as such, but because of his lack of comprehension of the forces which make it work- of the principles which relate his gadgets to the forces of nature, to the universal order. It is not central heating which makes his existence 'unnatural,' but his refusal to take an interest in the principles behind it. By being entirely dependent on science, yet closing his mind to it, he leads the life of an urban barbarian.
Behold the Child among his new-born blisses
A six years' Darling of a pigmy size!
See, where 'mid work of his own hand he lies,
Fretted by sallies of his mother's kisses,
With light upon him from his father's eyes!
See, at his feet, some little plan or chart,
Some fragment from his dream of human life,
Shaped by himself with newly-learned art.
Each man in his life honors, and imitates as well as he can, that god to whose choir he belonged, while he is uncorrupted in his first incarnation here; and in the fashion he has thus learned, he bears himself to his beloved as well as to the rest. So, then, each chooses from among the beautiful a love conforming to his kind, and then, as if his chosen were his god, he sets him up and robes him for worship.
An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet. In the short span of his lifetime, an actor must learn all there is to know, experience all there is to experience, or approach that state as closely as possible. He must be superhuman in his efforts to store away in the core of his subconscious everything that he might be called upon to use in the expression of his art.
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