Art Nouveau got its inspiration from nature. The Bauhaus got its inspiration from engineering.
In the nineteenth century the more grandiose word inspiration began to replace the word idea in the arts.
Where Cezanne captured and intensified shards of the eternal (every pear far more sharply defined than it could be in life), Monet portrayed the changeability and flux of every moment. 'The Water Lilies' give you a jittery, amorphous sense of a world seen at the speed of light.
Before pop art, there was such a thing as bad taste. Now there's kitsch, schlock, camp, and porn.
I always liked the Van Gogh story because I was terribly involved in that.
An aesthetic movement with a revolutionary dynamism and no popular appeal should proceed quite otherwise than by public scandal, publicity stunt, noisy expulsion and excommunication.
We shot that in all the real places where Van Gogh worked.
The term 'steampunk' itself, now a badge of honor, began as a putdown, a joke. But like 'Big Bang' in cosmology, the diss became the standard.
Steampunk, the repurposing of Victorian culture and technology for contemporary fun and profit, is so ubiquitous - in media, books, fashion, music, cosplay, and maker culture - that we tend to imagine its superficial aspects are all that define it.
In writing a novel about George Sand, I hoped to present her as the talented, beguiling, complicated and occasionally infuriating woman I think she was, but I hope, too, that readers will enjoy the people she surrounded herself with.
Most of my influences are turn-of-the-century.
In retrospect, the pace of change in the arts and industry in the nineteenth century seems pretty glacial. Painting, music, the novel, architecture were all evolving, but at a pretty observable pace.
Great American art needs the idea of uninterrupted spaces, like a loft, which itself is something very American.
Some people create with words or with music or with a brush and paints. I like to make something beautiful when I run. I like to make people stop and say, 'I've never seen anyone run like that before.' It's more than just a race, it's a style. It's doing something better than anyone else. It's being creative.
The swing of art is circular, from form to formalism, from formalism to formlessness, from formlessness to form again.
In the beginning, the cubists broke up form without even knowing they were doing it. Probably the compulsion to show multiple sides of an object forced us to break the object up - or, even better, to project a panorama that unfolded different facets of the same object.
The lovers of beauty must unite in a league, and carry out some great propagandist work through the country. They must demand the extermination of the bulldog and the dismantling of the cheap villa, both of which are responsible for a deal of our contentment amid ugliness.
New Wave art was the rage of the eighties. Now it's exhibited in oldies-but-goodies museums, usually in black-and-pink frames.
Minimalism now is a reaction to what came before. It's absolutely of its time. Music moved into the set theory thing, and moved out of it.
The terrifying and edible beauty of Art Nouveau architecture.
And yet what is Modernism? It is undefined.
I am a big fan of the Impressionists, and in my school days, I was inspired by Caravaggio, Velazquez and Rembrandt.
My aesthetic is I love anything in the late 1800s, early 1900s.
I am a pupil of Pissarro.
I would have liked to have known Oscar Wilde because I think he must have been very amusing and entertaining.
