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Most artists are surrealists. … always dreaming something and then they paint it. ~ Dong Kingman

An artist is a person engaged in one or more of any of a broad spectrum of activities related to creating art, practicing the arts, and/or demonstrating an art.

CONTENT : A - F , G - L , M - R , S - Z , See also , External links


Quotes are arranged alphabetically by author

A - F[edit]

  • A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.
    • Jorge Luis Borges, Twenty Conversations with Borges, Including a Selection of Poems : Interviews by Roberto Alifano, 1981–1983 (1984).
  • Artists shouldn't be made famous.
    • Kate Bush, Profiles in Rock interview (December 1980).
  • Art is the complement of science. Science as I have said is concerned wholly with relations, not with individuals. Art, on the other hand, is not only the disclosure of the individuality of the artist but also a manifestation of individuality as creative of the future, in an unprecedented response to conditions as they were in the past. Some artists in their vision of what might be but is not, have been conscious rebels. But conscious protest and revolt is not the form which the labor of the artist in creation of the future must necessarily take. Discontent with things as they are is normally the expression of the vision of what may be and is not, art in being the manifestation of individuality is this prophetic vision.
  • Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.
    • Marcel Duchamp 'The Creative Act', 1957, Duchamp’s lecture in Houston, April 1957, in Art News, 56. no. 4, Summer 1957, p. 28 –29
  • Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike.

G - L[edit]

  • I have come to the conclusion that a work of art restricted to what the artist has put in it is only a part of itself. It only attains full stature with what people and time make of it. It involves the whole complex of human relation to life. It is a mode of thinking, acting, perceiving and living.
    • Naum Gabo (1937) in a letter to Herbert Read. Cited in: Cyril Connolly (1944) Horizon: a review of literature and art. Vol 9-10. p. 58
  • The studio, a room to which the artist consigns himself for life, is naturally important, not only as workplace, but as a source of inspiration. And it usually manages, one way or another, to turn up in his product.
  • The name of Leonardo da Vinci will be invoked by artists to prove that only a great artist can be a great technician. The name of Leonardo da Vinci will be invoked by technicians to prove that only a great technician can be a great artist.
  • This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it. That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.
  • The artist tries to see what there is to be interested in... He has not created something, he has seen something.
  • Dead he is not, but departed,—for the artist never dies.

M - R[edit]

  • It is only after years of preparation that the young [artist] should touch color — not color used descriptively, that is, but as a means of personal expression.
  • We’re creators by permission, by grace as it were. No one creates alone, of and by himself. An artist is an instrument that registers something already existent, something which belongs to the whole world, and which, if he is an artist, he is compelled to give back to the world.
  • This sudden importance of art—an importance discovered by ideological movements, by the State, and by the business world—has made the artist a central figure on the public place. His earlier revolt against society, his marginal role as an entertainer, have of course predestined him to the role of an ally of all progressive movements that promise a universal society, that is, a universal public for his books, poems, paintings and partitions. His shudder before the ugliness of capitalist civilization, his isolation from the masses whose warmth and understanding he genuinely needs, make him an ideal, because uncritical, partner of the progressive ideologues who preach the overthrow of all that he hates.
    • Thomas Molnar, The Decline of the Intellectual (1961) Ch. 4 "The Intellectual as a Progressive"
  • The observation of nature is part of an artist's life, it enlarges his form-knowledge, keeps him fresh and from working only by formula, and feeds inspiration
    • Henry Moore, ‎Sir Herbert Edward Read, ‎David Sylvester (1957) Henry Moore: 1921-1948, p. xxxi
  • There is one quality I find in all the artists I admire most - men like Masaccio, Michelangelo, Rembrandt, Cezanne. I mean a disturbing element, a distortion, giving evidence of a struggle of some sort.
    • Henry Moore in: ‎Alan G. Wilkinson (2002) Henry Moore-- Writings and Conversations. p. 117
  • The social outcome of the arts and crafts movement was not commensurate with the needs of the new situation; as Mr. Frank Lloyd Wright pointed out in his memorable speech at Hull House in 1908, the machine itself was as much an instrument of art, in the hands of an artist, as were the simple tools and utensils.
    • Lewis Mumford, Technics and Civilization (1934) Ch. 7 "Assimilation of the Machine"
  • In the twentieth century, modernism and postmodernism took over, and their practitioners disdained beauty as bourgeois, saccharine, lightweight. Art was deliberately made incomprehensible or ugly or shocking... on the assumption that our predilections... were reversible social constructions. This also led to an exaggeration of the dynamic of social status that has always been part of the arts. The elite arts used to be aligned with the economic and political aristocracy. They involved displays of sumptuosity and the flaunting of rare and precious skills that only the idle rich could cultivate. But now that any schmo could afford a Mozart CD or go to a free museum, artists had to figure out new ways to differentiate themselves from the rabble. So art became baffling and uninterpretable—unless you had some acquaintance with arcane theory.
  • To express himself well, the artist should be hidden... The trouble is that if an artist knows he has genius, he's done for. The only salvation is to work like a labourer, and not have delusions of grandeur.
    • [[Pierre-Auguste Renoir], quoted in: Raymond Durgnat (1974) Jean Renoir: Raymond Durgnat, p. 370
  • The artist who uses the least of what is called imagination, will be the greatest!
    • [[Pierre-Auguste Renoir], quoted in: Giles Auty (1977) The Art of Self-Deception: An Intelligible Guide, p. 88
  • In a time when so many artists have learned to confabulate with extremes of horror and alienation, the most daring thing an artist can do is to fill a book, a gallery, or a theater with joy, hope, and beauty.
    • Betty and Theodore Roszak, "Deep Form in Art and Nature" Alexandria 4, Vol.4 The Order of Beauty and Nature (1997) ed. David Fideler.

S - Z[edit]

  • Dead artists always bring out an older, richer crowd.
    • Elizabeth Shaw, on a fauvism exhibition that drew 2,000 people, The New York Times (26 March 1976).
  • It was Homer who gave laws to the artist.
    • Francis Wayland, The Iliad and the Bible. In Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 43-45.
  • Mathematics is too arduous and uninviting a field to appeal to those to whom it does not give great rewards. These rewards are of exactly the same character as those of the artist. To see a difficult uncompromising material take living shape and meaning is to be Pygmalion, whether the material is stone or hard, stonelike logic. To see meaning and understanding come where there has been no meaning and no understanding is to share the work of a demiurge. No amount of technical correctness and no amount of labour can replace this creative moment, whether in the life of a mathematician or of a painter or musician. Bound up with it is a judgement of values, quite parallel to the judgement of values that belongs to the painter or the musician. Neither the artist nor the mathematician may be able to tell you what constitutes the difference between a significant piece of work and an inflated trifle; but if he is not able to recognise this in his own heart, he is no artist and no mathematician.
  • Art is the most intense mode of Individualism that the world has known. I am inclined to say that it is the only real mode of Individualism that the world has known.' Crime, which, under certain conditions, may seem to have created Individualism, must take cognisance of other people and interfere with them. It belongs to the sphere of action. But alone, without any reference to his neighbours, without any interference, the artist can fashion a beautiful thing; and if he does not do it solely for his own pleasure, he is not an artist at all.
  • The artist is nothing without the gift, but the gift is nothing without work.
    • Émile Zola, As quoted in Wisdom for the Soul : Five Millennia of Prescriptions for Spiritual Healing‎ (2006) by Larry Chang , p. 55.

See also[edit]

External links[edit]

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