A Quote by Truman Capote
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.
Related Quotes
Architects, sculptors painters, we all must return to the crafts! For art is not a 'profession.' There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman.
For me, the music of the Beatles then was serious and very, very serious art. So I couldn't take a picture of John laughing his head off or pulling funny faces because he was a serious artist, even when he was only 20.
Art is a severe business; most serious when employed in grand and sacred objects. The artist stands higher than art, higher than the object. He uses art for his purposes, and deals with the object after his own fashion.
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.
And often he who has chosen the fate of the artist because he felt himself to be different soon realizes that he can maintain neither his art nor his difference unless he admits that he is like the others. The artist forges himself to the others, midway between the beauty he cannot do without and the community he cannot tear himself away from.
The skills of the modern artist are the opposite of those of the craftsman: instead of acquiring techniques for producing classes of objects, the artist today perfects the means suited to his particular work.
God's relation to spirits is not like that of a craftsman to his work, but also like that of a prince to his subjects.
A doctor, like anyone else who has to deal with human beings, each of them unique, cannot be a scientist; he is either, like the surgeon, a craftsman, or, like the physician and the psychologist, an artist. This means that in order to be a good doctor a man must also have a good character, that is to say, whatever weaknesses and foibles he may have, he must love his fellow human beings in the concrete and desire their good before his own.
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.
I think a master craftsman is someone who is unpretentious. He has a physical object in front of him and, while he works with a higher aim, he doesn't let his personality get in the way of his art. It's simply about the task at hand and to make it as functional and necessary to the world as he can.
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.
There are two men inside the artist, the poet and the craftsman. One is born a poet. One becomes a craftsman.
The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.
Certainly there is, for the American Negro artist who can escape the restrictions the more advanced among his own group would put upon him, a great field of unused material ready for his art.
The personality of the artist, at first a cry or a cadence or a mood and then a fluid, and lambent narrative, finally refines itself out of existence, impersonalises itself, so to speak. The aesthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of aesthetic like that of material creation is accomplished. The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
Because we are in a war situation, this can sometimes be dangerous work. But guys like A.D. Flowers and his technicians just take it in stride and get on with the job. In four years, we've never had a serious accident or injury working with all the explosions.
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