A Quote by Robert Rodale
To be the agent whose touch changes nature from a wild force to a work of art is inspiration of the highest order.
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Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.
Art is not tame, and Nature is not wild, in the ordinary sense. A perfect work of man's art would also be wild or natural in a good sense.
The species and the genus are always the work of nature [i.e. specially created]; the variety mostly that of circumstance; the class and the order are the work of nature and art.
Nature is mighty. Art is mighty. Artifice is weak. For nature is the work of a mightier power than man. Art is the work of man under the guidance and inspiration of a mightier power. Artifice is the work of mere man, in the imbecility of his mimic understanding.
Art must be in touch with nature - and wherever that touch is gone, Art degenerates - yet it must be above nature.
Nonviolence is an active force of the highest order. It is soul force or the power of the godhead within us.
There is a subtle and unmistakable touch of love and pride, beyond mere skill, almost an inspiration which gives to all work that finish which is almost art - which is art.
...start thinking of yourself as an artist and your life as a work-in-progress. Works-in-progress are never perfect. But changes can be made...Art evolves. So does life. Art is never stagnant. Neither is life. The beautiful, authentic life you are creating for yourself is your art. It's the highest art.
As a matter of selective necessity, man is an agent. He is, in his own apprehension, a centre of unfolding impulsive activity-'teleological activity.' He is an agent seeking in every act the accomplishment of some concrete, objective, impersonal end. By force of being such an agent, he is possessed of a taste for effective work, and a distaste for futile effort.
The perfect knowledge of events cannot be acquired without divine inspiration, since all prophetic inspiration receives its prime motivating force from God the creator, then from good fortune and nature.
The enemy of art is the enemy of nature; art is nothing but the highest sagacity and exertion of human nature; and what nature will he honour who honours not the human?
So long as painting deals with objective nature, it is an impure art, for recognizability precludes the highest aesthetic emotion. All painting, ancient or modern, moves us aesthetically only in so far as it possesses a force over and beyond its aspect.
At the head of all these laws, in and through every particle of matter and force, stands One through whose command the wind blows, the fire burns, the clouds rain, and death stalks upon the earth. And what is His nature? He is everywhere the pure and formless One, the Almighty and the All Merciful. Thou art our Father. Thou art our beloved Friend.
If purpose, then, is inherent in art, so is it in Nature also. The best illustration is the case of a man being his own physician, for Nature is like that - agent and patient at once.
Art Nouveau got its inspiration from nature. The Bauhaus got its inspiration from engineering.
Art is the uniting of the subjective with the objective, of nature with reason, of the unconscious with the conscious, and therefore art is the highest means of knowledge.
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