Carl von Clausewitz Quotes

There's something immediate about the experience of reading a poem. It makes sense in my own mind, but I'm trying to figure out a way to articulate it... It's like looking at a painting: you're able to take in the totality of the work all at once, and so processing whatever information that painting is giving you is almost secondary to simply apprehending what's in front of you.

The aim of the painting is that the eye should find out what it likes.

In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.

If art is not to be life-enhancing, what is it to be?

If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.

I like the fact that music is more abstract.

I think it was Roger Fry who first coined what he took to be a final definition of a work of art, whether it was a painting, building, poem or Hepplewhite chair. He said that the best works of art are finished products that preserve 'a valuable state of mind'.

I don't see art as entertainment.

I have told myself a hundred times that painting - that is, the material thing called a painting - is no more than a pretext, the bridge between the mind of the painter and the mind of the spectator.

There’s a real question as to what beauty is and why it’s important to us. Many pseudo-philosophers try to answer these questions and tell us they’re not really answerable. I draw on art and literature, and music in particular, because music is a wonderful example of something that’s in this world but not of this world. Great works of music speak to us from another realm even though they speak to us in ordinary physical sounds.

Art is to be admired rather than explained. The jargon of these sculptors is beyond me. I do not precisely know why I admire a green granite, female, apparently pregnant monster with one eye going around a square corner.

I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.

Every fine story must leave in the mind of the sensitive reader an intangible residuum of pleasure, a cadence, a quality of voice that is exclusively the writer's own, individual, unique.

When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.

Colors produce a spiritual vibration, the impression they create is important only as a step towards this vibration.

a work that intends to be art must first be entertaining.

Art... does not take kindly to facts, is helpless to grapple with theories, and is killed outright by a sermon.

How can the poem and the stink and the grating noise - the quality of light, the tone, the habit and the dream - be set down alive?

The arts especially address the idea of aesthetic experience. An aesthetic experience is one in which your senses are operating at their peak; when you’re present in the current moment; when you’re resonating with the excitement of this thing that you’re experiencing; when you are fully alive.

It is to aid in making the arts operative rather than only positively or negatively pleasurable... it is to paint a record, in so far as I am increasingly capable, of man's deepst capacities... I seek to paint of how form manifests its subtlest quality named 'idea.

I would simply ask why so many critics, so many writers, so many philosophers take such satisfaction in professing that the experience of a work of art is ineffable, that it escapes by definition all rational understanding; why are they so eager to concede without a struggle the defeat of knowledge; and where does their irrepressible need to belittle rational understanding come from, this rage to affirm the irreducibility of the work of art, or, to use a more suitable word, its transcendence.

My forms are not abstractions of things in the real world. They're also not symbols. I would say that my job is to invent these forms and to put them together in a way that keeps your interest, to give the forms a quirky identity so you can engage with them, so you realize there's an inner intelligence or logic. If you stop asking what they mean, or what they remind you of, and just look at them for 29 seconds, you find that they want to explain themselves and show you how much every tiniest detail is related to the whole.

Quite often, lyrics get misunderstood - and I never mind that. I guess what all artists want is for their work to touch someone or for it to bethought provoking.

The true test of all the arts is not solely whether the production is a true copy of nature, but whether it answers the end of art, which is to produce a pleasing effect upon the mind.

Poetry has no investment in anything besides openness. It's not arguing a point. It's creating an environment.