Work Of Art Quotes

A beautiful body perishes, but a work of art dies not.

The human foot is a masterpiece of engineering and a work of art.

The first impression of a work of art is its otherness from reality.

'Argo' is a work of art.

In architecture it isn't enough to just have the right building that works well. It can also be beautiful. It can also be different. It can create surprise. And surprise is the main thing in a work of art. [] I like and respect Brasí­lia very much. It is a simple city, a rational one. I always defend the urban design of Brasí­lia

I collect firearms, and I've got a Winchester, an Indian rifle. It has tacks for every warrior that was shot, like notches on a pistol, and it's got feathers and beads hanging off it. It's like a work of art.

The work produced is a thing among things, able to be experienced and described as a sum of qualities. But from time to time it can face the receptive beholder in its whole embodied form.

I believe that a picture, a work of art, lives and dies just as we do.

Man is no longer an artist, he has become a work of art.

With a movie you're creating from the beginning this particular work, let's not call it work of art, because very few movies are works of art, let's just call them bits of popular culture, whatever they are, sometimes very rarely by accident a movie becomes a work of art.

When God created you, He went to great lengths to make you exactly the way He wanted you to be. You are His ultimate work of art.

Madness is the absolute break with the work of art; it forms the constitutive moment of abolition, which dissolves in time the truth of the work of art.

Jed Perl writes precisely and ecstatically. Antoine' s Alphabet is a history and a fairy tale, a work of criticism, and a work of art.

The Aston Martin is a beautiful car. It's a work of art, I love the interior and the style of the car.

When a novel is based on an actual crime, it should do much more than loosely fictionalize it. The novel must stand alone as a work of art that justifies using the story for its own purposes.

It is how we choose what we do, and how we approach it, that will determine whether the sum of our days adds up to a formless blur, or to something resembling a work of art.

For the essential thing about the work of art is that it is work, and very hard work too.

Building a bridge, in my opinion, is a symbolic gesture, linked with the needs of people who cross over it, and with the idea of overcoming or surmounting obstacles. A modern bridge can also be a work of art. It helps to shape our daily lives and becomes a vital experience for all the people who use it.

Political institutions, no matter how well or badly designed, depend for continued existence upon acting men; their conservation is achieved by the same means that brought them into being. Independent existence marks the work of art as a product of making; utter dependence upon further acts to keep it in existence marks the state as a product of action.

The delight we experience when we allow ourselves to respond to a fairy tale, the enchantment we feel, comes not from the psychological meaning of the tale (although this contributes to it) but from its literary qualities-the tale itself as a work of art.

When you see a great teacher, you are seeing a work of art.

In other words, the unique value of the "authentic" work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty.

I go into any movie that's historical fiction thinking, 'OK, I'm here to watch a work of art, something delivering a series of opinions, and if it's a good work of art, these opinions become so deeply embedded in complexity and richness that I won't even be bothered by the opinions. I'll make my own mind up.'

Every work of art needs a spine – an underlying theme, a motive for coming into existence. It doesn't have to be apparent to the audience. But you need it at the start of the creative process to guide you and keep you going.

In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.