Top 1200 History And Art Quotes & Sayings

Art history is less explosive than the rest of history, so it sinks faster into the pulverized regions of time.

I'm not as much a history person as an art person, but I mean, you can read history through art.

I really wasn't about to get a Ph.D. in art history, you know, which you'd absolutely needed. And that was not something I wanted. And I loved art history, but not that way.

I've always done live art history lectures and small documentaries in the past in Australia, on Australian art and art galleries, so I've already done a lot of that.

If you study the history of mankind, it seems to be a history of violence. Certainly the history of art, whether you look at paintings or movies or plays or whatever, is just a litany of murder and death.

Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.

The history of modern culture is a history of popular entertainments evolving into art.

I don't like the idea of nationalism, but on the other hand, I do see that there is a difference between British art, German art and Chinese art. This is because of the history, because each country has different history and each country reads and teaches that history differently.

There are so many people who have a training in art history; and if you've spent time looking at old art, you become attuned to what art does through materiality and so you begin to look to that in contemporary art as well. And anyway, I do think that matching one's experience with what you're looking at and questioning what you're looking inevitably involves materiality, just like it involves the sense of place.

I spend much more time looking at art history and at different references to art than I do at actual objects.

...throughout the history of art it has been art itself - in all its forms - that has inspired art...today's photographs are so geared to life that one can learn more from them than from life itself.

Think about it: you've already related it down to something that somebody else can understand. If art relates to something - it's like Picasso, it's like Mondrian - it's not. Art's supposed to be what it is. Using a reference of art history might help for some kind of sales, but it doesn't really help anybody. Art is what it is; it cannot be footnoted, until it enters the world. Then it has a history. Then the footnotes are the history, not the explanation.

I graduated. I did History of Art, you know, all those things - American Studies - and then I went to art school, and I did Joseph Alvarez in the art school.

The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.

Art needs to be socialised, and you need a lot of context to understand that, and that doesn't mean having read a few art history books.

Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.

I love art, my mother is a painter, I majored in art history at Wellesley, and as I was having my second child I was thinking, what am I going to do, I have to do something to keep myself sane, and I began to ask myself, what are the most horrific circumstances under which art can be created?

All art becomes history as soon as it is made, so it is inevitably part of a tradition. It doesn't matter a toss if it is in paint or in film; it is all art.

What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment . It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.

The visual information of art history is going to students seamlessly, without the enormous trouble those of us who are older had when we studied art history many years ago.

What's important about the artists we learn about in art history and see in all the art books is that they have somehow pushed the boundaries of what people think art is or should be, and that's how they've made their work relevant. That's what I'm trying to figure out for myself.

You know, the history of California art doesn't start until about 1961, and that's when these photographs start. I mean, we have no history out here.

In the USA, we learn "art history" as Western art history, and the history of Asian, or African art is a special case; we learn politics by examining our own government system, and consider other systems special cases, and the same is true of philosophy.

I love art, and I love history, but it is living art and living history that I love. It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigor of the earlier world?

The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.

Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.

From now on there is no longer any development immanent to art. The times have passed for history of art with a logical sense. There is no longer even any consistency in absurdities; the development has been wound up, and what comes now already exists: the syncretism of a muddle of all styles and possibilities, post-history.

After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.

There was once a time when art history and film were basically the same medium, but art history is frozen in late-19th-century technology that has survived into the early 21st century.

I have a fondness for making paintings that go beyond just having a conversation about art for art's sake or having a conversation about art history. I actually really enjoy looking at broader popular culture.

'The Art of the Brick' is an exhibition I've done where I've taken some works of art from art history and replicated them all out of Lego bricks.

My introduction to art history was like everybody else's. You see an art history book that has works by Rembrandt and Leonardo da Vinci and Michelangelo. Yes, these things are great. But I don't see a reflection of myself in any of these things I'm looking at.

Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.

The more I've gotten interested in writing about history and making sense of myself within the continuum of history, the more I've turned to paintings, to art. I look to the imagery of art to help me understand something about my own place in the world.

I believe that in the history of art and of thought there has always been at every living moment of culture a will to renewal. This is not the prerogative of the last decade only. All history is nothing but a succession of crises - of rupture, repudiation and resistance. When there is no crisis, there is stagnation, petrifaction and death. All thought, all art is aggressive.

It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.

Art history looks at art works and the people who have created them.

I cannot understand why some people try to write a history of photography that is separated from the history of modern art.

We have come to think of art and work as incompatible, or at least independent categories and have for the first time in history created an industry without art.

The history of an art is the history of masterwork, not of failures, or mediocrity.

I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. Its the most radical thing.

When I started in the comic book business, 'Art Of' books were strictly the provenance of the greats, like Rembrandt and Da Vinci. But times change, and so do attitudes. Now the comic is considered an art form, and I hope 'A Life in Words and Pictures' contributes a little to that art form's history.

I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. It's the most radical thing.

The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.

Art gives life to what history killed. Art gives voice to what history denied, silenced, or persecuted. Art brings truth to the lies of history.

Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.

I always enjoyed art history because, growing up in California, my exposure was limited, and it was a new experience. To learn the history of art opened up certain things to me, made me see. It intrigued me.

The aim of every authentic artist is not to conform to the history of art, but to release himself from it in order to replace it with his own history.

It is a thoughtless and immodest presumption to learn anything about art from philosophy. Some do begin as if they hoped to learnsomething new here, since philosophy cannot and should not do anything further than develop the given art experiences and the existing art concepts into a science, improve the views of art, and promote them with the help of a thoroughly scholarly art history, and produce that logical mood about these subjects too which unites absolute liberalism with absolute rigor.

History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.

If we talk about art in general... all the works of art, each one of them could reflect a moment in the history of mankind, the time in which it was created.

After pop art, graffiti is probably the biggest art movement in recent history to have such an impact on culture.

I'm not really well educated - other than an art survey course at the High School of Art and Design in New York when I was, like, 15. I don't know the history of art, but I got over intimidation from the art world when I realized that I was allowed to feel whatever I want and like whatever I want.

Art may not have the power to change the course of history, but it can provide a perspective on historical events that needs to be heard, even if it's seldom heeded. After all the temporary influences that once directed the course of history have vanished, great art survives and continues to speak to each generation.

The pernicious influence of the prize and medal giving in art is so great that it should be stopped. History proves that juries in art have been generally wrong.

Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?

Art lives and dies in the unique heart of he who carries it, just as all feelings only live and expand in the souls of those who feel them. There is no history of art -- there is the history of artists.

All other forms of history - economic history, social history, psychological history, above all sociology - seem to me history with the history left out.

I learned more from my mother than from all the art historians and curators who have informed me about technical aspects of art history and art appreciation over the years.

I tried without much success to learn a little of the humanities and the arts, but even passing the courses in art history and music history was a challenge.