Top 1200 Works Of Art Quotes & Sayings - Page 19

Some people flinch when you talk about art in the context of the needs of society thinking you are introducing something far too common for a discussion of art. Why should art have a purpose and a use? Art shouldn't be concerned with purpose and reason and need, they say. These are improper. But from the very beginning, it seems to me, stories have indeed been meant to be enjoyed, to appeal to that part of us which enjoys good form and good shape and good sound.

Art is never about provocation and never about human taste. Since the human being is not the measure for art, provocation cannot be the artistic aim. Art is about necessity, not about human will. Society is more and more brainwashed and mistakes itself for art.

Anything that is beautiful is beautiful just as it is. Praise forms no part of its beauty, since praise makes things neither better nor worse. This applies even more to what it commonly called beautiful: natural objects, for example, or works of art. True beauty has no need of anything beyond itself.

It's an art installation to put out a collection, with the people behind the scenes who are inventing and creating these designs and making sure they're realized on the catwalk, and just how much hangs on it for the designers. Their livelihoods hang in the balance, as far as whether this year's collection works for them or not, and there are so many people's jobs on the line, as a result of that. I just had no idea.

In '68 I was 13 years old, so I was a child, but I felt a lot of excitement in listening to things, looking at the pop art coming over from America. My father was an art collector, and he was coming home with these strange pieces of art that weren't exposed in museums. At the time, it was quite revolutionary, very adventurous.

Abhor all idea of being saved by good works, but O, be as full of good works as if you were to be saved by them!

Relationships, it seems to me, are timeless. What works between two people always works; what doesn't is always troublesome. Over time, people learn - or not - how to negotiate what's difficult, but that doesn't mean the misfit has gone away entirely.

Works of art are like a Trojan horse. Under the surface is always some artist's deeply held philosophy on their view of the world. But on the other hand, you do not want to make it feel like medicine. You do not want to make it feel like an afternoon TV special where you're trying to hammer a message into someone's head.

I never went into aesthetics. Aesthetics is what philosophers have to say about art, and a lot of them take an analytics position and raise the question, "What is an art object?" As soon as you fall into that trap, an artist is going to come along and say, "That isn't art - it's something else." That's a hopeless gig.

A loving and kindly approach works between individuals, it works between groups and it would work between nations if nations had the courage to try it.

The reason artists want to have works in museums is that we want our works to be seen by as many people as possible and we want our ideas to be understood in more complicated ways.

When you read reviews on Yelp, you get a good sense of what's going to happen when you walk in the door of that business. The challenge is that there are fifteen million businesses in the U.S., and its very hard to communicate with all of them about how Yelp works, and why it works the way it does.

Although not considered a martial art, boxing is really a martial art. It's a very limited martial art as long as you agree to just box... but in an actual physical fight against someone who's just a wrestler, you're going to get killed.

It is certain that the real function of art is to increase our self-consciousness; to make us more aware of what we are, and therefore of what the universe in which we live really is. And since mathematics, in its own way, also performs this function, it is not only aesthetically charming but profoundly significant. It is an art, and a great art.

You can see the meaning of the statement that "Literature is a living art" most easily and clearly, perhaps, by contrasting Science and Art at their two extremes - say Pure Mathematics and Acting. Science as a rule deals with things, Art with man's thought and emotion about things.

I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.

The proletarian writer is a writer with a purpose; he thinks no more of art for art's sake than a man on a sinking ship thinks of painting a beautiful picture in the cabin; he thinks of getting ashore - and then there will be time enough for art.

This grace of God is a very great, strong, mighty and active thing. It does not lie asleep in the soul. Grace hears, leads, drives, draws, changes, works all in man, and lets itself be distinctly felt and experienced. It is hidden, but its works are evident.

The market likes to lull you into the false security of high success rate techniques, which often lose disastrously in the long run. The general idea is that what works most of the time is nearly the opposite of what works in the long run.

The ballpark is the star. In the age of Tris Speaker and Babe Ruth, the era of Jimmie Foxx and Ted Williams, through the empty-seats epoch of Don Buddin and Willie Tasby and unto the decades of Carl Yastrzemski and Jim Rice, the ballpark is the star. A crazy-quilt violation of city planning principles, an irregular pile of architecture, a menace to marketing consultants, Fenway Park works. It works as a symbol of New England's pride, as a repository of evergreen hopes, as a tabernacle of lost innocence. It works as a place to watch baseball.

Rumors sound of galleries asking artists for up-sized art and more of it... Everything winds up set to maximum in order to feed the beast. Bigness is not all bad. There's something pleasing about large, well-lit spaces. But the bigness has also led to a narrowing of sensibilities, by making it very hard for any but the glitziest works to get traction.

When I was in art school, I thought art was something I would learn how to do, and then I would just do it. At a certain point I realized that it wasn't going to work like that. Basically, I would have to start over every day and figure out what art was going to be.

When we approach games, we're always emotional-focused, so if a free-to-play business model works against the emotion, we won't use it. If it actually works well with the emotion, or if we can come up with a new way to do monetization that's different and that's unique for the game, I would go for that.

The proof of love is in the works. Where love exists, it works great things. But when it ceases to act, it ceases to exist.

I'm not a real programmer. I throw together things until it works then I move on. The real programmers will say Yeah it works but you're leaking memory everywhere. Perhaps we should fix that. I'll just restart Apache every 10 requests.

My monochrome pictures are not my definite works, but the preparation for my works. They are the leftovers from the creative processes, the ashes. My pictures, after all, are only the title-deeds to my property which I have to produce when I am asked to prove that I am a proprietor.

We profess to teach the principles and practice of medicine, or, in other words, the science and art of medicine. Science is knowledge reduced to principles; art is knowledge reduced to practice. The knowing and doing, however, are distinct. ... Your knowledge, therefore, is useless unless you cultivate the art of healing. Unfortunately, the scientific man very often has the least amount of art, and he is totally unsuccessful in practice; and, on the other hand, there may be much art based on an infinitesimal amount of knowledge, and yet it is sufficient to make its cultivator eminent.

I realized that the only possible response was to go to my wonderful local café, Maison Bertaux, check everyone was well, eat a little cake and then make art. To me, making art, and in particular public art, is always an assertion of our humanity and our strength.

I count my time by times that I meet thee; These are my yesterdays, my morrows, noons, And nights, these are my old moons and my new moons. Slow fly the hours, fast the hours flee, If thou art far from or art near to me: If thou art far, the bird's tunes are no tunes; If thou art near, the wintry days are Junes.

The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own traveling brotherhood.

I can't tell you what art does and how it does it, but I know that often art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten. Art, when it functions like this, becomes a meeting-place of the invisible, the irreducible, the enduring, guts, and honor.

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 is a way you discover the past, and so it brings the past into the present and the future. That's why we have anthropologists who dig up the art from the past. You can see the refinement in the society by the art. And people will see our lack of refinement when they dig up our art.

You're confusing product with process. Most people, when they criticize, whether they like it or hate it, they're talking about product. That's not art, that's the result of art. Art, to whatever degree we can get a handle on (I'm not sure that we really can) is a process. It begins in the heart and the mind with the eyes and hands.

I had always drawn, every day as long as I had held a pencil, and just assumed everyone else had too…Art had saved me and helped me fit in…Art was always my saving grace…Comedy didn’t come until much later for me. I’ve always tried to combine the two things, art and comedy, and couldn’t make a choice between the two. It was always my ambition to make comedy with an art-school slant, and art that could be funny instead of po-faced.

I felt it was my duty to praise all of God's works with fervent enthusiasm. At the same time I killed flies in my house in a spirit of hatred, exasperation and contempt. My praise to God for all his works was dishonest, the act of killing the fly was honest.

The family that prays together stays together, and if they stay together they will love one another as God has loved each one of them. And works of love are always works of peace.

I like nature but not its substitutes... Mondrian opposed art to nature saying that art is artificial and nature is natural. I do not share this opinion... Art's origins are natural.

By faith ponder on this, that though thou art no way able in or by thyself to get the conquest over thy distemper, though thou art even weary of contending, and art utterly ready to faint, yet that there is enough in Jesus Christ to yield thee relief.

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.

There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

You know, for a long time being a heavily tattooed woman was viewed as something gross, or you're either a criminal or a drug addict. It feels good to be a good representation of the art form versus being the token tattoo girl. I'm just glad that people even consider it to be sexy, because I think I'm just a big nerd so it works out.

The Gospels were not thought of as works of literature. People were not concerned with the literary reputation of Matthew or Mark, but with the substance of their records of our Lord's life. They did not have to respect their actual words, as they would if they were transcribing the works of Thucydides or Plato.

No one is saved by good works (Ephesians 2:8-9), but every Christian has been saved for good works (verse 10).

Paul Heyman works with Brock. The magic works between Brock and Paul because of their dynamic and their chemistry.

The prosperity of a book lies in the minds of readers. Public knowledge and public taste fluctuate; and there come times when works which were once capable of instructing and delighting thousands lose their power, and works, before neglected, emerge into renown.

In any case, once you're dealing on a nonverbal level, ambiguity is unavoidable. But it's the ambiguity of all art, of a fine piece of music or a painting - you don't need written instructions by the composer or painter accompanying such works to 'explain' them. “Explaining” them contributes nothing but a superficial 'cultural' value which has no value except for critics and teachers who have to earn a living.

What works in a story is very different than what works in cinema. For example, dialogue in books: If you translate it too faithfully, it sounds a little stilted, because we often don't speak the way we speak in novels. Oral language is much punchier, shorter sentences.

One works because I suppose it is the most interesting thing one knows to do. The days one works are the best days. On the other days one is hurrying through the other things one imagines one has to do to keep one's life going.

Architecture is art. I don't think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it's polluted by life, and by the complexity of things.

Christ has no body now but mine. He prays in me, works in me, looks through my eyes, speaks through my words, works through my hands, walks with my feet and loves with my heart.

We all want something else other than what we have and don't realize what you got works. It works. It does work. You gotta work. Marriage is work. Marriage is a career. It's not an adventure.

That which is now called natural philosophy, embracing the whole circle of science, of which astronomy occupies the chief place, is the study of the works of God, and of the power and wisdom of God in his works, and is the true theology.

I don't necessarily make much art myself, but after I wrote 'Warped Passages,' I was fortunate to get involved a little in the art world. I got invited to write a libretto for what we called a projective opera, and I also got invited to curate an art exhibit.

I react pragmatically. Where the market works, I'm for that. Where the government is necessary, I'm for that. I'm deeply suspicious of somebody who says, 'I'm in favor of privatization,' or, 'I'm deeply in favor of public ownership.' I'm in favor of whatever works in the particular case.

All art is propaganda. ... The only difference is the kind of propaganda. Since art is essential for human life, it can't just belong to the few. Art is the universal language, and it belongs to all mankind. All painters have been propagandists or else they have not been painters. ... Every artist who has been worth anything in art has been such a propagandist. ... Every strong artist has been a propagandist. I want to be a propagandist and I want to be nothing else. ... I want to use my art as a weapon.

When you use the language of 'fact checking' to talk about a film, I think you're sort of fundamentally misunderstanding how art works. You don't fact check Monet's 'Water Lilies.' That's not what water lilies look like; that's what the sensation of experiencing water lilies feel like. That's the goal of the piece.

It's almost a social grace to get into the art world, and I'm very wary of it. Art was good in Berlin in the late '70s - there was a lot more guts to art when the Neo-Expressionists were starting up; it was real slapdash; it has real heart to it - but it seems so cold and heartless in America. It's a buyer's market.

The brain is full of lonely ideas, begging you to make some sense of them, to recognize them as interesting. The lazy brain just files them away in old pigeonholes, like a bureaucrat who wants an easy life. The lively brain picks and chooses and creates new works of art out of ideas.

I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.