Art critics

"Impartiality is a pompous name for indifference, which is an elegant name for ignorance."

"When fishes flew and forests walked And figs grew upon thorn, Some moment when the moon was blood Then surely I was born. With monstrous head and sickening cry And ears like errant wings, The devil’s walking parody On all four-footed things."

"Fools! For I also had my hour; One far fierce hour and sweet: There was a shout about my ears, And palms before my feet."

"The journalists would appear to be in an almost literal sense the priests of the modern world. They may not rise precisely to the tremendous responsibility which was laid upon Peter, but at least it can be said that whatever they bind on earth is bound on earth, and whatever they loose on earth is loosed on earth. They have essentially and absolutely the same functions that were employed by the old priests, but their power for deceit is even greater and their responsibility to the world even less. A comparison between the priests and the journalists would be striking in many points. [...] The priest's influence and power consisted almost entirely in the fact that he was the only man who brought news. [...] the corruption of the priesthood occurred at the precise moment in which it changed from a minority organised to impart knowledge into a minority organised to withhold it. The great danger of decadence in journalism is almost exactly the same. Journalism possesses in itself the potentiality of becoming one of the most frightful monstrosities and delusions that have ever cursed mankind. This horrible transformation will occur at the exact instant at which journalists realise that they can become an aristocracy."

"One of the deepest and strangest of all human moods is the mood which will suddenly strike us perhaps in a garden at night, or deep in sloping meadows, the feeling that every flower and leaf has just uttered something stupendously direct and important, and that we have by a prodigy of imbecility not heard or understood it. There is a certain poetic value, and that a genuine one, in this sense of having missed the full meaning of things. There is beauty, not only in wisdom, but in this dazed and dramatic ignorance."

"The truth is that Tolstoy, with his immense genius, with his colossal faith, with his vast fearlessness and vast knowledge of life, is deficient in one faculty and one faculty alone. He is not a mystic; and therefore he has a tendency to go mad. Men talk of the extravagances and frenzies that have been produced by mysticism; they are a mere drop in the bucket. In the main, and from the beginning of time, mysticism has kept men sane. The thing that has driven them mad was logic. ... The only thing that has kept the race of men from the mad extremes of the convent and the pirate-galley, the night-club and the lethal chamber, has been mysticism — the belief that logic is misleading, and that things are not what they seem."

"Reason is always a kind of brute force; those who appeal to the head rather than the heart, however pallid and polite, are necessarily men of violence. We speak of 'touching' a man's heart, but we can do nothing to his head but hit it."

"The centre of every man's existence is a dream. Death, disease, insanity, are merely material accidents, like toothache or a twisted ankle. That these brutal forces always besiege and often capture the citadel does not prove that they are the citadel."

"The simplification of anything is always sensational."

"He is only a very shallow critic who cannot see an eternal rebel in the heart of the Conservative."

"There is only one thing that it requires real courage to say, and that is a truism."

"Earnest Freethinkers need not worry themselves so much about the persecutions of the past. Before the Liberal idea is dead or triumphant we shall see wars and persecutions the like of which the world has never seen."

"Briefly, you can only find truth with logic if you have already found truth without it."

"The Christ-child stood at Mary's knee, His hair was like a crown, And all the flowers looked up at him, And all the stars looked down."

"There is one creed: 'neath no world-terror's wing Apples forget to grow on apple-trees."

"I think that if they gave me leave, Within the world to stand, I would be good through all the day I spent in fairyland. They should not hear a word from me, Of selfishness or scorn, If only I could find the door, If only I were born."

"Without education, we are in a horrible and deadly danger of taking educated people seriously."

"Fine weather encourages individualism. When the whole glittering landscape is cut out as clear as a map—indented by the blue sky as by a blue sea, then each one of us wishes to take his own way, to walk by himself along the roads of the world and conquer for himself the cities of the morning. In the sunlight a man asks for liberty, which is only the divine name for loneliness. But it is in black and bleak conditions that we learn that it is not well for man to be alone; and festivity was discovered in the darkness. Winter encourages that thing called comradeship which modern humanitarians so often seem unable to understand, but which Walt Whitman so wisely perceived to be the permanent foundation of democracy."

"The object of a ceremony is not to be beautiful, though that is a valuable element. The object of a ceremony is to be ceremonious. Ritual is a need of the human soul — nay, it is rather a need of the human body, like exercise. A man does not take off his hat to a lady because he looks nicer without it; the instance of bald men would be alone sufficient to upset such an explanation. He does it because you must positively do something when you meet a lady, or your whole civilisation goes to pieces; and taking off your hat is easier than taking off your necktie or lying face downwards on the pavement."

"The riddle of life is simply this: For some mad reason in this mad world of ours, the things which men differ about most are exactly the things about which they must be got to agree. Men can agree on the fact that the earth goes round the sun. But then it does not matter a dump whether the earth goes around the sun or the Pleiades. But men cannot agree about morals: sex, property, individual rights, fixity and contracts, patriotism, suicide, public habits of health – these are exactly the things that men tend to fight about. And these are exactly the things that must be settled somehow on strict principles. Study each of them, and you will find each of them works back certainly to a philosophy, probably to a religion."

"When people impute special vices to the Christian Church, they seem entirely to forget that the world (which is the only other thing there is) has these vices much more. The Church has been cruel; but the world has been much more cruel. The Church has plotted; but the world has plotted much more. The Church has been superstitious; but it has never been so superstitious as the world is when left to itself."

"The riddles of God are more satisfying than the solutions of man."

"When learned men begin to use their reason, then I generally discover that they haven't got any."

"Men do not differ much about what things they will call evils; they differ enormously about what evils they will call excusable."

"The Bible tells us to love our neighbors, and also to love our enemies; probably because they are generally the same people."

"The whole difference between construction and creation is exactly this: that a thing constructed can only be loved after it is constructed; but a thing created is loved before it exists, as the mother can love the unborn child."

"Either criticism is no good at all (a very defensible position) or else criticism means saying about an author the very things that would have made him jump out of his boots."

"Among the rich you will never find a really generous man even by accident. They may give their money away, but they will never give themselves away; they are egotistic, secretive, dry as old bones. To be smart enough to get all that money you must be dull enough to want it."

"I object to a quarrel because it always interrupts an argument."

"To have a right to do a thing is not at all the same as to be right in doing it."

"All government is an ugly necessity."

"I do not, in my private capacity, believe that a baby gets his best physical food by sucking his thumb; nor that a man gets his best moral food by sucking his soul, and denying its dependence on God or other good things. I would maintain that thanks are the highest form of thought; and that gratitude is happiness doubled by wonder."

"A change of opinions is almost unknown in an elderly military man."

"There is in Islam a paradox which is perhaps a permanent menace. The great creed born in the desert creates a kind of ecstasy out of the very emptiness of its own land, and even, one may say, out of the emptiness of its own theology. [...] A void is made in the heart of Islam which has to be filled up again and again by a mere repetition of the revolution that founded it. There are no sacraments ; the only thing that can happen is a sort of apocalypse, as unique as the end of the world ; so the apocalypse can only be repeated and the world end again and again. There are no priests ; and yet this equality can only breed a multitude of lawless prophets almost as numerous as priests. The very dogma that there is only one Mahomet produces an endless procession of Mahomets."

"When a politician is in opposition he is an expert on the means to some end; and when he is in office he is an expert on the obstacles to it."

"The men that worked for England They have their graves at home; * * * * And they that rule in England In stately conclave met, Alas, alas, for England, They have no graves as yet."

"A mystic is a man who separates heaven and earth even if he enjoys them both."

"Christendom might quite reasonably have been alarmed if it had not been attacked. But as a matter of history it had been attacked. The Crusader would have been quite justified in suspecting the Moslem even if the Moslem had merely been a new stranger; but as a matter of history he was already an old enemy. The critic of the Crusade talks as if it had sought out some inoffensive tribe or temple in the interior of Thibet, which was never discovered until it was invaded. They seem entirely to forget that long before the Crusaders had dreamed of riding to Jerusalem, the Moslems had almost ridden into Paris. They seem to forget that if the Crusaders nearly conquered Palestine, it was but a return upon the Moslems who had nearly conquered Europe."

"And I will add this point of merely personal experience of humanity: when men have a real explanation they explain it, eagerly and copiously and in common speech, as Huxley freely gave it when he thought he had it. When they have no explanation to offer, they give short dignified replies, disdainful of the ignorance of the multitude."

"It is terrible to contemplate how few politicians are hanged."

"There are two ways of dealing with nonsense in this world. One way is to put nonsense in the right place; as when people put nonsense into nursery rhymes. The other is to put nonsense in the wrong place; as when they put it into educational addresses, psychological criticisms, and complaints against nursery rhymes or other normal amusements of mankind."

"Sometime ago I went with some children to see Maeterlinck's fine and delicate fairy play about the Blue Bird that brought everybody happiness. For some reason or other it did not bring me happiness, and even the children were not quite happy. I will not go so far as to say that the Blue Bird was a Blue Devil, but it left us in something seriously like the blues. The children were party dissatisfied with it because it did not end with a Day of Judgment; because it was never revealed to the hero and heroine that the dog had been faithful and the cat faithless. For children are innocent and love justice; while most of us are wicked and naturally prefer mercy."

"I do not believe in a fate that falls on men however they act; but I do believe in a fate that falls on them unless they act."

"I believe what really happens in history is this: the old man is always wrong; and the young people are always wrong about what is wrong with him. The practical form it takes is this: that, while the old man may stand by some stupid custom, the young man always attacks it with some theory that turns out to be equally stupid."

"Atheism is, I suppose, the supreme example of a simple faith. The man says there is no God; if he really says it in his heart, he is a certain sort of man so designated in Scripture [i.e. a fool, Ps. 53:2]. But, anyhow, when he has said it, he has said it; and there seems to be no more to be said. The conversation seems likely to languish. The truth is that the atmosphere of excitement, by which the atheist lived, was an atmosphere of thrilled and shuddering theism, and not of atheism at all; it was an atmosphere of defiance and not of denial. Irreverence is a very servile parasite of reverence; and has starved with its starving lord. After this first fuss about the merely aesthetic effect of blasphemy, the whole thing vanishes into its own void. If there were not God, there would be no atheists."

"The whole modern world has divided itself into Conservatives and Progressives. The business of Progressives is to go on making mistakes. The business of Conservatives is to prevent mistakes from being corrected. Even when the revolutionist might himself repent of his revolution, the traditionalist is already defending it as part of his tradition. Thus we have two great types — the advanced person who rushes us into ruin, and the retrospective person who admires the ruins. He admires them especially by moonlight, not to say moonshine. Each new blunder of the progressive or prig becomes instantly a legend of immemorial antiquity for the snob. This is called the balance, or mutual check, in our Constitution."

"Neither reason nor faith will ever die; for men would die if deprived of either. The wildest mystic uses his reason at some stage; if it be only by reasoning against reason. The most incisive sceptic has dogmas of his own; though when he is a very incisive sceptic, he has often forgotten what they are. Faith and reason are in this sense co-eternal; but as the words are popularly used, as loose labels for particular periods, the one is now almost as remote as the other. What was called the Age of Reason has vanished as completely as what are called the Ages of Faith."

"For the secular society of to-day is sceptical not merely about spiritual assumptions, but about its own secular assumptions. It has not merely broken the church window or besieged the tower of tradition; it has also kicked away the ladder of progress by which it had climbed. The Declaration of Independence, once the charter of democracy, begins by saying that certain things are self-evident. If we were to trace the history of the American mind from Thomas Jefferson to William James, we should find that fewer and fewer things were self-evident, until at last hardly anything is self-evident. So far from it being self-evident to the modern that men are created equal, it is not self-evident that men are created, or even that men are men. They are sometimes supposed to be monkeys muddling through a transition stage before the Superman. But there is not only doubt about mystical things; not even only about moral things. There is most doubt of all about rational things. I do not mean that I feel these doubts, either rational or mystical; but I mean that a sufficient number of modern people feel them to make unanimity an absurd assumption. Reason was self-evident before Pragmatism. Mathematics were self-evident before Einstein. But this scepticism is throwing thousands into a condition of doubt, not about occult but about obvious things. We shall soon be in a world in which a man may be howled down for saying that two and two make four, in which furious party cries will be raised against anybody who says that cows have horns, in which people will persecute the heresy of calling a triangle a three-sided figure, and hang a man for maddening a mob with the news that grass is green."

"These are the days when the Christian is expected to praise every creed except his own."

"The full potentialities of human fury cannot be reached until a friend of both parties tactfully intervenes."

"Fallacies do not cease to be fallacies because they become fashions."

"It is only great men who take up a great space by not being there."

"A puritan is a person who pours righteous indignation into the wrong things."

"There is something to be said for every error; but, whatever may be said for it, the most important thing to be said about it is that it is erroneous."

"The modern world seems to have no notion of preserving different things side by side, of allowing its proper and proportionate place to each, of saving the whole varied heritage of culture. It has no notion except that of simplifying something by destroying nearly everything."

"What embitters the world is not excess of criticism, but absence of self-criticism."

"Plato was right, but not quite right."

"The Church never said that wrongs could not or should not be righted; or that commonwealths could not or should not be made happier; or that it was not worth while to help them in secular and material things; or that it is not a good thing if manners become milder, or comforts more common, or cruelties more rare. But she did say that we must not count on the certainty even of comforts becoming more common or cruelties more rare; as if this were an inevitable social trend towards a sinless humanity; instead of being as it was a mood of man, and perhaps a better mood, possibly to be followed by a worse one. We must not hate humanity, or despise humanity, or refuse to help humanity; but we must not trust humanity; in the sense of trusting a trend in human nature which cannot turn back to bad things."

"Half the trouble about the modern man is that he is educated to understand foreign languages and misunderstand foreigners."

"A stiff apology is a second insult."

"The cause which is blocking all progress today is the subtle scepticism which whispers in a million ears that things are not good enough to be worth improving. If the world is good we are revolutionaries, if the world is evil we must be conservatives. These essays, futile as they are considered as serious literature, are yet ethically sincere, since they seek to remind men that things must be loved first and improved afterwards."

"In our time the blasphemies are threadbare. Pessimism is now patently, as it always was essentially, more commonplace than piety. Profanity is now more than an affectation — it is a convention. The curse against God is Exercise I in the primer of minor poetry."

"There runs a strange law through the length of human history — that men are continually tending to undervalue their environment, to undervalue their happiness, to undervalue themselves. The great sin of mankind, the sin typified by the fall of Adam, is the tendency, not towards pride, but towards this weird and horrible humility. This is the great fall, the fall by which the fish forgets the sea, the ox forgets the meadow, the clerk forgets the city, every man forgets his environment and, in the fullest and most literal sense, forgets himself. This is the real fall of Adam, and it is a spiritual fall. It is a strange thing that many truly spiritual men, such as General Gordon, have actually spent some hours in speculating upon the precise location of the Garden of Eden. Most probably we are in Eden still. It is only our eyes that have changed."

"The pessimist is commonly spoken of as the man in revolt. He is not. Firstly, because it requires some cheerfulness to continue in revolt, and secondly, because pessimism appeals to the weaker side of everybody, and the pessimist, therefore, drives as roaring a trade as the publican. The person who is really in revolt is the optimist, who generally lives and dies in a desperate and suicidal effort to persuade all the other people how good they are. It has been proved a hundred times over that if you really wish to enrage people and make them angry, even unto death, the right way to do it is to tell them that they are all the sons of God."

"Every one of the great revolutionists, from Isaiah to Shelley, have been optimists. They have been indignant, not about the badness of existence, but about the slowness of men in realizing its goodness."

"Let me explain a little: Certain things are bad so far as they go, such as pain, and no one, not even a lunatic, calls a tooth-ache good in itself; but a knife which cuts clumsily and with difficulty is called a bad knife, which it certainly is not. It is only not so good as other knives to which men have grown accustomed. A knife is never bad except on such rare occasions as that in which it is neatly and scientifically planted in the middle of one's back. The coarsest and bluntest knife which ever broke a pencil into pieces instead of sharpening it is a good thing in so far as it is a knife. It would have appeared a miracle in the Stone Age. What we call a bad knife is a good knife not good enough for us; what we call a bad hat is a good hat not good enough for us; what we call bad cookery is good cookery not good enough for us; what we call a bad civilization is a good civilization not good enough for us. We choose to call the great mass of the history of mankind bad, not because it is bad, but because we are better. This is palpably an unfair principle. Ivory may not be so white as snow, but the whole Arctic continent does not make ivory black."

"Now it has appeared to me unfair that humanity should be engaged perpetually in calling all those things bad which have been good enough to make other things better, in everlastingly kicking down the ladder by which it has climbed. It has appeared to me that progress should be something else besides a continual parricide; therefore I have investigated the dust-heaps of humanity, and found a treasure in all of them. I have found that humanity is not incidentally engaged, but eternally and systematically engaged, in throwing gold into the gutter and diamonds into the sea."

"The act of defending any of the cardinal virtues has today all the exhilaration of a vice. Moral truisms have been so much disputed that they have begun to sparkle like so many brilliant paradoxes."

"We all know that the 'divine glory of the ego' is socially a great nuisance; we all do actually value our friends for modesty, freshness, and simplicity of heart. Whatever may be the reason, we all do warmly respect humility — in other people."

"It is always the secure who are humble."

"A beetle may or may not be inferior to a man — the matter awaits demonstration; but if he were inferior by ten thousand fathoms, the fact remains that there is probably a beetle view of things of which a man is entirely ignorant. If he wishes to conceive that point of view, he will scarcely reach it by persistently revelling in the fact that he is not a beetle."

"Humility is the luxurious art of reducing ourselves to a point, not to a small thing or a large one, but to a thing with no size at all, so that to it all the cosmic things are what they really are — of immeasurable stature. That the trees are high and the grasses short is a mere accident of our own foot-rules and our own stature. But to the spirit which has stripped off for a moment its own idle temporal standards the grass is an everlasting forest, with dragons for denizens; the stones of the road are as incredible mountains piled one upon the other; the dandelions are like gigantic bonfires illuminating the lands around; and the heath-bells on their stalks are like planets hung in heaven each higher than the other."

"There is a road from the eye to the heart that does not go through the intellect. Men do not quarrel about the meaning of sunsets; they never dispute that the hawthorn says the best and wittiest thing about the spring."

"The one stream of poetry which is continually flowing is slang."

"All slang is metaphor, and all metaphor is poetry."

"The most unfathomable schools and sages have never attained to the gravity which dwells in the eyes of a baby of three months old. It is the gravity of astonishment at the universe, and astonishment at the universe is not mysticism, but a transcendent common-sense. The fascination of children lies in this: that with each of them all things are remade, and the universe is put again upon its trial. As we walk the streets and see below us those delightful bulbous heads, three times too big for the body, which mark these human mushrooms, we ought always primarily to remember that within every one of these heads there is a new universe, as new as it was on the seventh day of creation. In each of those orbs there is a new system of stars, new grass, new cities, a new sea."

"There is always in the healthy mind an obscure prompting that religion teaches us rather to dig than to climb; that if we could once understand the common clay of earth we should understand everything. Similarly, we have the sentiment that if we could destroy custom at a blow and see the stars as a child sees them, we should need no other apocalypse. This is the great truth which has always lain at the back of baby-worship, and which will support it to the end"

"The truth is that it is our attitude towards children that is right, and our attitude towards grown-up people that is wrong. Our attitude towards our equals in age consists in a servile solemnity, overlying a considerable degree of indifference or disdain. Our attitude towards children consists in a condescending indulgence, overlying an unfathomable respect."

"When we reverence anything in the mature, it is their virtues or their wisdom, and this is an easy matter. But we reverence the faults and follies of children. We should probably come considerably nearer to the true conception of things if we treated all grown-up persons, of all titles and types, with precisely that dark affection and dazed respect with which we treat the infantile limitations."

"The essential rectitude of our view of children lies in the fact that we feel them and their ways to be supernatural while, for some mysterious reason, we do not feel ourselves or our own ways to be supernatural. The very smallness of children makes it possible to regard them as marvels; we seem to be dealing with a new race, only to be seen through a microscope. I doubt if anyone of any tenderness or imagination can see the hand of a child and not be a little frightened of it. It is awful to think of the essential human energy moving so tiny a thing; it is like imagining that human nature could live in the wing of a butterfly or the leaf of a tree. When we look upon lives so human and yet so small, we feel as if we ourselves were enlarged to an embarrassing bigness of stature. We feel the same kind of obligation to these creatures that a deity might feel if he had created something that he could not understand."

"The humorous look of children is perhaps the most endearing of all the bonds that hold the Cosmos together. Their top-heavy dignity is more touching than any humility; their solemnity gives us more hope for all things than a thousand carnivals of optimism; their large and lustrous eyes seem to hold all the stars in their astonishment; their fascinating absence of nose seems to give to us the most perfect hint of the humour that awaits us in the kingdom of heaven."

"'My country, right or wrong' is a thing that no patriot would think of saying, except in a desperate case. It is like saying, 'My mother, drunk or sober'."

"The human race, to which so many of my readers belong, has been playing at children's games from the beginning, and will probably do it till the end, which is a nuisance for the few people who grow up. And one of the games to which it is most attached is called “Keep to-morrow dark,” and which is also named (by the rustics in Shropshire, I have no doubt) “Cheat the Prophet.” The players listen very carefully and respectfully to all that the clever men have to say about what is to happen in the next generation. The players then wait until all the clever men are dead, and bury them nicely. They then go and do something else. That is all. For a race of simple tastes, however, it is great fun. For human beings, being children, have the childish wilfulness and the childish secrecy. And they never have from the beginning of the world done what the wise men have seen to be inevitable."

"All revolutions are doctrinal — such as the French one, or the one that introduced Christianity."

"Many clever men like you have trusted to civilization. Many clever Babylonians, many clever Egyptians, many clever men at the end of Rome. Can you tell me, in a world that is flagrant with the failures of civilisation, what there is particularly immortal about yours?"

"Don't you believe people when they tell you that people sought for a sign, and believed in miracles because they were ignorant. They did it because they were wise, filthily, vilely wise—too wise to eat or sleep or put on their boots with patience."

"Lord! what a strange world in which a man cannot remain unique even by taking the trouble to go mad!"

"Bosh," he said, "On what else is the whole world run but immediate impressions? What is more practical? My friend, the philosophy of this world may be founded on facts, but its business is run on spiritual impressions and atmospheres."

"Truth must of necessity be stranger than fiction ... for fiction is the creation of the human mind, and therefore is congenial to it."

"Men always talk about the most important things to total strangers. It is because in the total stranger we perceive man himself; the image of God is not disguised by resemblances to an uncle or doubts of the wisdom of a moustache."

"There is no such thing on earth as an uninteresting subject; the only thing that can exist is an uninterested person."

"It is amusing to think how much conservative ingenuity has been wasted in the defence of the House of Lords by men who were desperately endeavouring to prove that the House of Lords consisted of clever men. There is one really good defence of the House of Lords [...] and that is, that the House of Lords, in its full and proper strength, consists of stupid men. It really would be a plausible defence of that otherwise indefensible body to point out that the clever men in the Commons, who owed their power to cleverness, ought in the last resort to be checked by the average man in the Lords, who owed their power to accident."

"Much of our modern difficulty, in religion and other things, arises merely from this: that we confuse the word "indefinable" with the word "vague." If some one speaks of a spiritual fact as "indefinable" we promptly picture something misty, a cloud with indeterminate edges. But this is an error even in commonplace logic. The thing that cannot be defined is the first thing; the primary fact. It is our arms and legs, our pots and pans, that are indefinable. The indefinable is the indisputable. The man next door is indefinable, because he is too actual to be defined. And there are some to whom spiritual things have the same fierce and practical proximity; some to whom God is too actual to be defined."

"Whatever the word "great" means, Dickens was what it means."

"One of the actual and certain consequences of the idea that all men are equal is immediately to produce very great men."

"There is a great man who makes every man feel small. But the real great man is the man who makes every man feel great."

"For religion all men are equal, as all pennies are equal, because the only value in any of them is that they bear the image of the King.... It has often been said, very truly, that religion is the thing that makes the ordinary man feel extraordinary; it is an equally important truth that religion is the thing that makes the extraordinary man feel ordinary."

"We are then able to answer in some manner the question, "Why have we no great men?" We have no great men chiefly because we are always looking for them. We are connoisseurs of greatness, and connoisseurs can never be great; we are fastidious, that is, we are small. When Diogenes went about with a lantern looking for an honest man, I am afraid he had very little time to be honest himself. And when anybody goes about on his hands and knees looking for a great man to worship, he is making sure that one man at any rate shall not be great."

"No man encouraged his characters so much as Dickens. "I am an affectionate father," he says, "to every child of my fancy." He was not only an affectionate father, he was an overindulgent father. The children of his fancy are spoilt children. They shake the house like heavy and shouting schoolboys; they smash the story to pieces like so much furniture."

"The fierce poet of the Middle Ages wrote, "Abandon hope, all ye who enter here," over the gates of the lower world. The emancipated poets of to-day have written it over the gates of this world."

"Dickens had all his life the faults of the little boy who is kept up too late at night. The boy in such a case exhibits a psychological paradox; he is a little too irritable because he is a little too happy. Dickens was always a little too irritable because he was a little too happy. Lie the over-wrought child in society, he was splendidly sociable, and yet suddenly quarrelsome."

"As a fact, there is no shred of evidence to show that those who have had sad experiences tend to have a sad philosophy. There are numberless points upon which Dickens is spiritually at one with the poor, that is, with the great mass of mankind. But there is no point in which he is more perfectly at one with them than in showing that there is no kind of connection between a man being unhappy and a man being pessimistic. Sorrow and pessimism are indeed, in a sense, opposite things, since sorrow is founded on the value of something, and pessimism upon the value of nothing."

"The pessimists are aristocrats like Byron; the men who curse God are aristocrats like Swinburne. But when those who starve and suffer speak for a moment, they do not profess merely an optimism, they profess a cheap optimism; they are too poor to afford a dear one. They cannot indulge in any detailed or merely logical defence of life; that would be to delay the enjoyment of it. These higher optimists, of whom Dickens was one, do not approve of the universe; they do not even admire the universe; they fall in love with it. They embrace life too close to criticize or even to see it. Existence to such men has the wild beauty of a woman, and those love her with most intensity who love her with least cause."

"[Dickens] was the character whom anybody can hurt and nobody can kill."

"Round the birth of "Pickwick" broke one of those literary quarrels that were too common in the life of Dickens.... He turned people into mortal enemies whom he might have turned very easily into immortal jokes."

"Fiction means the common things as seen by the uncommon people. Fairy tales mean the uncommon things as seen by the common people."

"It is the custom in our little epoch to sneer at the middle classes. Cockney artists profess to find the bourgeoisie dull; as if artists had any business to find anything dull. Decadents talk contemptuously of its conventions and its set tasks; it never occurs to them that conventions and set tasks are the very way to keep that greenness in the grass and that redness in the roses--which they have lost forever."

"The public does not like bad literature. The public likes a certain kind of literature and likes that kind of literature even when it is bad better than another kind of literature even when it is good."

"Dickens stands first as a defiant monument of what happens when a great literary genius has a literary taste akin to that of the community. For this kinship was deep and spiritual. Dickens was not like our ordinary demagogues and journalists. Dickens did not write what the people wanted. Dickens wanted what the people wanted."

"America has a new delicacy, a coarse, rank refinement."

"A sober man may become a drunkard through being a coward. A brave man may become a coward through being a drunkard."

"When some English moralists write about the importance of having character, they appear to mean only the importance of having a dull character."

"A man looking at a hippopotamus may sometimes be tempted to regard a hippopotamus as an enormous mistake; but he is also bound to confess that a fortunate inferiority prevents him personally from making such mistakes."

"I cannot understand the people who take literature seriously; but I can love them, and I do. Out of my love I warn them to keep clear of this book. It is a collection of crude and shapeless papers upon current or rather flying subjects; and they must be published pretty much as they stand. They were written, as a rule, at the last moment; they were handed in the moment before it was too late, and I do not think that our commonwealth would have been shaken to its foundations if they had been handed in the moment after. They must go out now, with all their imperfections on their head, or rather on mine; for their vices are too vital to be improved with a blue pencil, or with anything I can think of, except dynamite. Their chief vice is that so many of them are very serious; because I had no time to make them flippant. It is so easy to be solemn; it is so hard to be frivolous."

"It is incomprehensible to me that any thinker can calmly call himself a modernist; he might as well call himself a Thursdayite. ... The real objection to modernism is simply that it is a form of snobbishness. It is an attempt to crush a rational opponent not by reason, but by some mystery of superiority, by hinting that one is specially up to date or particularly "in the know." To flaunt the fact that we have had all the last books from Germany is simply vulgar; like flaunting the fact that we have had all the last bonnets from Paris. To introduce into philosophical discussions a sneer at a creed's antiquity is like introducing a sneer at a lady's age. It is caddish because it is irrelevant. The pure modernist is merely a snob; he cannot bear to be a month behind the fashion."

"An inconvenience is only an adventure wrongly considered; an adventure is an inconvenience rightly considered."

"Anomalies do matter very much, and do a great deal of harm; abstract illogicalities do matter a great deal, and do a great deal of harm. And this for a reason that any one at all acquainted with human nature can see for himself. All injustice begins in the mind. And anomalies accustom the mind to the idea of unreason and untruth. Suppose I had by some prehistoric law the power of forcing every man in Battersea to nod his head three times before he got out of bed. The practical politicians might say that this power was a harmless anomaly; that it was not a grievance. It could do my subjects no harm; it could do me no good. The people of Battersea, they would say, might safely submit to it. But the people of Battersea could not safely submit to it, for all that. If I had nodded their heads for them for fifty years I could cut off their heads for them at the end of it with immeasurably greater ease. For there would have permanently sunk into every man's mind the notion that it was a natural thing for me to have a fantastic and irrational power. They would have grown accustomed to insanity."

"For my part, I should be inclined to suggest that the chief object of education should be to restore simplicity. If you like to put it so, the chief object of education is not to learn things; nay, the chief object of education is to unlearn things."

"It is not only possible to say a great deal in praise of play; it is really possible to say the highest things in praise of it. It might reasonably be maintained that the true object of all human life is play. Earth is a task garden; heaven is a playground. To be at last in such secure innocence that one can juggle with the universe and the stars, to be so good that one can treat everything as a joke — that may be, perhaps, the real end and final holiday of human souls."

"For fear of the newspapers politicians are dull, and at last they are too dull even for the newspapers. The speeches in our time are more careful and elaborate, because they are meant to be read, and not to be heard. And exactly because they are more careful and elaborate, they are not so likely to be worthy of a careful and elaborate report. They are not interesting enough. So the moral cowardice of modern politicians has, after all, some punishment attached to it by the silent anger of heaven. Precisely because our political speeches are meant to be reported, they are not worth reporting. Precisely because they are carefully designed to be read, nobody reads them."

"It is not funny that anything else should fall down; only that a man should fall down. No one sees anything funny in a tree falling down. No one sees a delicate absurdity in a stone falling down. No man stops in the road and roars with laughter at the sight of the snow coming down. The fall of thunderbolts is treated with some gravity. The fall of roofs and high buildings is taken seriously. It is only when a man tumbles down that we laugh. Why do we laugh? Because it is a grave religious matter: it is the Fall of Man. Only man can be absurd: for only man can be dignified."

"It is the test of a good religion whether you can joke about it."

"A man must be orthodox upon most things, or he will never even have time to preach his own heresy."

"Ireland is a country in which the political conflicts are at least genuine; they are about something. They are about patriotism, about religion, or about money: the three great realities. In other words, they are concerned with what commonwealth a man lives in, or with what universe a man lives in, or with how he is to manage to live in either."

"The Puritan is only strong enough to stiffen; the Catholic is strong enough to relax."

"We all know that constancy, jealousy, and the personal pledge are natural and inevitable in sex; we do not feel any surprise when we see them either in a murder or in a valentine."

"I must frankly say that Bernard Shaw always seems to me to use the word God not only without any idea of what it means, but without one moment's thought about what it could possibly mean. He said to some atheist, "Never believe in a God that you cannot improve on." The atheist (being a sound theologian) naturally replied that one should not believe in a God whom one could improve on; as that would show that he was not God."

"For there are two types of great humorist: those who love to see a man absurd and those who hate to see him absurd. Of the first kind are Rabelais and Dickens; of the second kind are Swift and Bernard Shaw."

"Shyness is always the sign of a divided soul; a man is shy because he somehow thinks his position at once despicable and important. If he were without humility he would not care; and if he were without pride he would not care."

"We have passed the age of the demagogue, the man who has little to say and says it loud. We have come to the age of the mystagogue or don, the man who has nothing to say, but says it softly and impressively in an indistinct whisper."

"The world will never starve for want of wonders; but only for want of wonder."

"For my friend said that he opened his intellect as the sun opens the fans of a palm tree, opening for opening's sake, opening infinitely for ever. But I said that I opened my intellect as I opened my mouth, in order to shut it again on something solid. I was doing it at the moment. And as I truly pointed out, it would look uncommonly silly if I went on opening my mouth infinitely, for ever and ever."

"Misers get up early in the morning; and burglars, I am informed, get up the night before."

"Fairy tales...are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon. Exactly what the fairy tale does is this: it accustoms him for a series of clear pictures to the idea that these limitless terrors had a limit, that these shapeless enemies have enemies in the knights of God, that there is something in the universe more mystical than darkness, and stronger than strong fear."

"[A]rt is limitation. [...] The most beautiful part of every picture is the frame."

"The whole object of travel is not to set foot on foreign land; it is at last to set foot on one's own country as a foreign land."

"I swear to you, then," said MacIan, after a pause. "I swear to you that nothing shall come between us. I swear to you that nothing shall be in my heart or in my head till our swords clash together. I swear it by the God you have denied, by the Blessed Lady you have blasphemed; I swear it by the seven swords in her heart. I swear it by the Holy Island where my fathers are, by the honour of my mother, by the secret of my people, and by the chalice of the Blood of God." The atheist drew up his head. "And I," he said, "give my word."

"It is the one great weakness of journalism as a picture of our modern existence, that it must be a picture made up entirely of exceptions. We announce on flaring posters that a man has fallen off a scaffolding. We do not announce on flaring posters that a man has not fallen off a scaffolding. Yet this latter fact is fundamentally more exciting, as indicating that that moving tower of terror and mystery, a man, is still abroad upon the earth. That the man has not fallen off a scaffolding is really more sensational; and it is also some thousand times more common. But journalism cannot reasonably be expected thus to insist upon the permanent miracles. Busy editors cannot be expected to put on their posters, "Mr. Wilkinson Still Safe," or "Mr. Jones, of Worthing, Not Dead Yet." They cannot announce the happiness of mankind at all. They cannot describe all the forks that are not stolen, or all the marriages that are not judiciously dissolved. Hence the complex picture they give of life is of necessity fallacious; they can only represent what is unusual. However democratic they may be, they are only concerned with the minority."

"Poets have been mysteriously silent on the subject of cheese."

"But whenever one meets modern thinkers (as one often does) progressing toward a madhouse, one always finds, on inquiry, that they have just had a splendid escape from another madhouse. Thus, hundreds of people become Socialists, not because they have tried Socialism and found it nice, but because they have tried Individualism and found it particularly nasty."

"If a thing is worth doing, it is worth doing badly."

"The Christian ideal has not been tried and found wanting. It has been found difficult; and left untried."

"Atheism is indeed the most daring of all dogmas ... for it is the assertion of a universal negative"

"As for science and religion, the known and admitted facts are few and plain enough. All that the parsons say is unproved. All that the doctors say is disproved. That's the only difference between science and religion there's ever been, or will be."

"The academic mind reflects infinity, and is full of light by the simple process of being shallow and standing still."

"Marriage is a duel to the death, which no man of honour should decline."

"It is a quaint comment on the notion that the English are practical and the French merely visionary, that we were rebels in arts while they were rebels in arms."

"The mind moves by instincts, associations and premonitions and not by fixed dates or completed processes. Action and reaction will occur simultaneously: or the cause actually be found after the effect. Errors will be resisted before they have been properly promulgated: notions will be first defined long after they are dead."

"A man making the confession of any creed worth ten minutes' intelligent talk, is always a man who gains something and gives up something. So long as he does both he can create: for he is making an outline and a shape."

"The central idea of poetry is the idea of guessing right, like a child."

"Dogma does not mean the absence of thought, but the end of thought."

"He did not know the way things were going: he was too Victorian to understand the Victorian epoch. He did not know enough ignorant people to have heard the news."

"It is largely because the free-thinkers, as a school, have hardly made up their minds whether they want to be more optimist or more pessimist than Christianity that their small but sincere movement has failed."

"He was, if ever there was one, an inspired poet. I do not think it the highest sort of poet. And you never discover who is an inspired poet until the inspiration goes."

"There is no great harm in the theorist who makes up a new theory to fit a new event. But the theorist who starts with a false theory and then sees everything as making it come true is the most dangerous enemy of human reason."

"The rich are the scum of the earth in every country."

"But since he stood for England And knew what England means, Unless you give him bacon You mustn’t give him beans."

"In the city set upon slime and loam, They cry in their Parliament, "Who goes home?" And there comes no answer in arch or dome, For none in the city of graves goes home. Yet these shall perish and understand, For God has pity on this great land."

"Men that are men again: Who goes home? Tocsin and trumpeter! Who goes home? For there's blood on the grass and blood on the foam, And blood on the body, when Man comes home. And a voice valedictory: Who is for victory? Who is for liberty? Who goes home?"

"Before the Roman came to Rye or out to Severn strode, The rolling English drunkard made the rolling English road."

"The night we went to Birmingham by way of Beachy Head."

"My friends, we will not go again or ape an ancient rage, Or stretch the folly of our youth to be the shame of age,"

"For there is good news yet to hear and fine things to be seen, Before we go to Paradise by way of Kensal Green."

"I am not fighting a hopeless fight. People who have fought in real fights don't, as a rule."

"Our chiefs said 'Done,' and I did not deem it; Our seers said 'Peace,' and it was not peace; Earth will grow worse till men redeem it, And wars more evil, ere all wars cease."

"For we that fight till the world is free, We are not easy in victory: We have known each other too long, my brother, And fought each other, the world and we."

"It is all as of old, the empty clangour, The scrawled on a five-foot page, The huckster who, mocking holy anger, Painfully paints his face with rage. * * * We that fight till the world is free, We have no comfort in victory; We have read each other as Cain his brother, We know each other, these slaves and we."

"Are they clinging to their crosses?"

"Talk about the pews and steeples And the cash that goes therewith! But the souls of Christian peoples... Chuck it, Smith!"

"Heaven shall forgive you Bridge at dawn, The clothes you wear — or do not wear — And Ladies’ Leap-frog on the lawn And dyes and drugs, and petits verres."

"But for the Virtuous Things you do, The Righteous Work, the Public Care, It shall not be forgiven you."

"I’ll read "Jack Redskin on the Quest" And feed my brain with better things."

"They spoke of Progress spiring round, Of Light and Mrs. Humphry Ward — It is not true to say I frowned, Or ran about the room and roared; I might have simply sat and snored — I rose politely in the club And said, “I feel a little bored; Will someone take me to a pub?”"

"Prince, Bayard would have smashed his sword To see the sort of knights you dub — Is that the last of them — O Lord Will someone take me to a pub?"

"Prince, Prince-Elective on the modern plan, Fulfilling such a lot of People’s Wills, You take the Chiltern Hundreds while you can— A storm is coming on the Chiltern Hills."

"The gallows in my garden, people say, Is new and neat and adequately tall."

"The strangest whim has seized me. ... After all I think I will not hang myself to-day."

"To-morrow is the time I get my pay — My uncle’s sword is hanging in the hall — I see a little cloud all pink and grey — Perhaps the rector’s mother will not call — I fancy that I heard from Mr. Gall That mushrooms could be cooked another way — I never read the works of Juvenal — I think I will not hang myself to-day.The world will have another washing day; The decadents decay; the pedants pall; And H. G. Wells has found that children play, And Bernard Shaw discovered that they squall; Rationalists are growing rational — And through thick woods one finds a stream astray, So secret that the very sky seems small — I think I will not hang myself to-day."

"Prince, I can hear the trumpet of Germinal, The tumbrils toiling up the terrible way; Even to-day your royal head may fall — I think I will not hang myself to-day."

"Nelson turned his blindest eye On Naples and on liberty."

"White founts falling in the courts of the sun, And the Soldan of Byzantium is smiling as they run."

"The cold queen of England is looking in the glass; The shadow of the Valois is yawning at the Mass."

"The walls are hung with velvet that is black and soft as sin, And little dwarfs creep out of it and little dwarfs creep in. He holds a crystal phial that has colours like the moon, He touches, and it tingles, and he trembles very soon, And his face is as a fungus of a leprous white and grey Like plants in the high houses that are shuttered from the day."

"And above the ships are palaces of brown, black-bearded chiefs, And below the ships are prisons, where with multitudinous griefs, Christian captives sick and sunless, all a labouring race repines Like a race in sunken cities, like a nation in the mines."

"Strong gongs groaning as the drums beat far."

"Don John of Austria is going to the war."

"It is he that saith not ‘Kismet’; it is he that knows not fate; It is Richard, it is Raymond, it is Godfrey in the gate!"

"Cervantes on his galley sets the sword back in the sheath, (Don John of Austria rides homeward with a wreath.)"

"And he smiles, but not as Sultans smile, and settles back the blade.... (But Don John of Austria rides home from the Crusade.)"

"It is something to have wept as we have wept, It is something to have done as we have done, It is something to have watched when all men slept, And seen the stars which never see the sun. It is something to have smelt the mystic rose, Although it break and leave the thorny rods, It is something to have hungered once as those Must hunger who have ate the bread of gods."

"To have seen you and your unforgotten face, Brave as a blast of trumpets for the fray, Pure as white lilies in a watery space, It were something, though you went from me today. To have known the things that from the weak are furled, Perilous ancient passions, strange and high; It is something to be wiser than the world, It is something to be older than the sky."

"In a time of sceptic moths and cynic rusts, And fattened lives that of their sweetness tire In a world of flying loves and fading lusts, It is something to be sure of a desire. Lo, blessed are our ears for they have heard; Yea, blessed are our eyes for they have seen: Let the thunder break on man and beast and bird And the lightning. It is something to have been."

"A fairly clear line separated advertisement from art. ... The first effect of the triumph of the capitalist (if we allow him to triumph) will be that that line of demarcation will entirely disappear. There will be no art that might not just as well be advertisement."

"Literary men are being employed to praise a big business man personally, as men used to praise a king. They not only find political reasons for the commercial schemes—that they have done for some time past—they also find moral defences for the commercial schemers. ... I do resent the whole age of patronage being revived under such absurd patrons; and all poets becoming court poets, under kings that have taken no oath."

"Even the tyrant never rules by force alone; but mostly by fairy tales. And so it is with the modern tyrant, the great employer. The sight of a millionaire is seldom, in the ordinary sense, an enchanting sight: nevertheless, he is in his way an enchanter. As they say in the gushing articles about him in the magazines, he is a fascinating personality. So is a snake. At least he is fascinating to rabbits; and so is the millionaire to the rabbit-witted sort of people that ladies and gentlemen have allowed themselves to become."

"The big commercial concerns of to-day are quite exceptionally incompetent. They will be even more incompetent when they are omnipotent."

"Employers will give time to eat, time to sleep; they are in terror of a time to think."

"The new community which the capitalists are now constructing will be a very complete and absolute community; and one which will tolerate nothing really independent of itself."

"In every serious doctrine of the destiny of men, there is some trace of the doctrine of the equality of men. But the capitalist really depends on some religion of inequality. The capitalist must somehow distinguish himself from human kind; he must be obviously above it—or he would be obviously below it."

"Wait and see whether the religion of the Servile State is not in every case what I say: the encouragement of small virtues supporting capitalism, the discouragement of the huge virtues that defy it."

"I do not ask them to assume the worth of my creed or any creed; and I could wish they did not so often ask me to assume the worth of their worthless, poisonous plutocratic modern society. But if it could be shown, as I think it can, that a long historical view and a patient political experience can at last accumulate solid scientific evidence of the vital need of such a vow, then I can conceive no more tremendous tribute than this, to any faith, which made a flaming affirmation from the darkest beginnings, of what the latest enlightenment can only slowly discover in the end."

"Say that a thing is so, according to the Pope or the Bible, and it will be dismissed as a superstition without examination. But preface your remark merely with "they say" or "don't you know that?" or try (and fail) to remember the name of some professor mentioned in some newspaper; and the keen rationalism of the modern mind will accept every word you say."

"A foreigner is a man who laughs at everything except jokes. He is perfectly entitled to laugh at anything, so long as he realises, in a reverent and religious spirit, that he himself is laughable. I was a foreigner in America; and I can truly claim that the sense of my own laughable position never left me. But when the native and the foreigner have finished with seeing the fun of each other in things that are meant to be serious, they both approach the far more delicate and dangerous ground of things that are meant to be funny. The sense of humour is generally very national; perhaps that is why the internationalists are so careful to purge themselves of it. I had occasion during the war to consider the rights and wrongs of certain differences alleged to have arisen between the English and American soldiers at the front. And, rightly or wrongly, I came to the conclusion that they arose from the failure to understand when a foreigner is serious and when he is humorous. And it is in the very nature of the best sort of joke to be the worst sort of insult if it is not taken as a joke."

"Now there is any amount of this nonsense cropping up among American cranks. Anybody may propose to establish coercive Eugenics; or enforce psychoanalysis — that is, enforce confession without absolution."

"The truth is that prohibitions might have done far less harm as prohibitions, if a vague association had not arisen, on some dark day of human unreason, between prohibition and progress. And it was the progress that did the harm, not the prohibition. Men can enjoy life under considerable limitations, if they can be sure of their limited enjoyments; but under Progressive Puritanism we can never be sure of anything. The curse of it is not limitation; it is unlimited limitation. The evil is not in the restriction; but in the fact that nothing can ever restrict the restriction. The prohibitions are bound to progress point by point; more and more human rights and pleasures must of necessity be taken away; for it is of the nature of this futurism that the latest fad is the faith of the future, and the most fantastic fad inevitably makes the pace. Thus the worst thing in the seventeenth-century aberration was not so much Puritanism as sectarianism. It searched for truth not by synthesis but by subdivision. It not only broke religion into small pieces, but it was bound to choose the smallest piece."

"The last hundred years has seen a general decline in the democratic idea. If there be anybody left to whom this historical truth appears a paradox, it is only because during that period nobody has been taught history, least of all the history of ideas. If a sort of intellectual inquisition had been established, for the definition and differentiation of heresies, it would have been found that the original republican orthodoxy had suffered more and more from secessions, schisms, and backslidings. The highest point of democratic idealism and conviction was towards the end of the eighteenth century, when the American Republic was 'dedicated to the proposition that all men are equal.' It was then that the largest number of men had the most serious sort of conviction that the political problem could be solved by the vote of peoples instead of the arbitrary power of princes and privileged orders."

"There is truth in every ancient fable, and there is here even something of it in the fancy that finds the symbol of the Republic in the bird that bore the bolts of Jove. Owls and bats may wander where they will in darkness, and for them as for the sceptics the universe may have no centre; kites and vultures may linger as they like over carrion, and for them as for the plutocrats existence may have no origin and no end; but it was far back in the land of legends, where instincts find their true images, that the cry went forth that freedom is an eagle, whose glory is gazing at the sun."

"The thing that really is trying to tyrannize through government is Science. The thing that really does use the secular arm is Science. And the creed that really is levying tithes and capturing schools, the creed that really is enforced by fine and imprisonment, the creed that really is proclaimed not in sermons but in statutes, and spread not by pilgrims but by policemen – that creed is the great but disputed system of thought which began with Evolution and has ended in Eugenics. Materialism is really our established Church; for the Government will really help it to persecute its heretics."

"I judged the Poles by their enemies. And I found it was an almost unfailing truth that their enemies were the enemies of magnanimity and manhood. If a man loved slavery, if he loved usury, if he loved terrorism and all the trampled mire of materialistic politics, I have always found that he added to these affections the passion of a hatred of Poland. She could be judged in the light of that hatred; and the judgment has proved to be right."

"About sex especially men are born unbalanced; we might almost say men are born mad. They scarcely reach sanity till they reach sanctity."

"If there is one fact we really can prove, from the history that we really do know, it is that despotism can be a development, often a late development and very often indeed the end of societies that have been highly democratic. A despotism may almost be defined as a tired democracy. As fatigue falls on a community, the citizens are less inclined for that eternal vigilance which has truly been called the price of liberty; and they prefer to arm only one single sentinel to watch the city while they sleep."

"In the days of my youth the Religion of Humanity was a term commonly applied to Comtism, the theory of certain rationalists who worshipped corporate mankind as a Supreme Being. Even in the days of my youth, I remarked that there was something slightly odd about despising and dismissing the doctrine of the Trinity as a mystical and even maniacal contradiction; and then asking us to adore a deity who is a hundred million persons in one God, neither confounding the persons nor dividing the substance. p. 83"

"But every man feels in his heart that [...] the ultimate idea of a world is not bad or even neutral; staring at the sky or the grass or the truths of mathematics or even a new-laid egg, he has a vague feeling like the shadow of that saying of the great Christian philosopher, St. Thomas Aquinas, “Every existence, as such, is good.” On the other hand, something else tells him that it is unmanly and debased and even diseased to minimise evil to a dot or even a blot. He realises that optimism is morbid. It is if possible even more morbid than pessimism."

"We are talking about an artist; and for the enjoyment of the artist the mask must be to some extent moulded on the face. What he makes outside him must correspond to something inside him; he can only make his effects out of some of the materials of his soul."

"An artist will betray himself by some sort of sincerity."

"'You have no business to be an unbeliever. You ought to stand for all the things these stupid people call superstitions. Come now, don't you think there's a lot in those old wives' tales about luck and charms and so on, silver bullets included? What do you say about them as a Catholic?' 'I say I'm an agnostic,' replied Father Brown, smiling. 'Nonsense,' said Aylmer impatiently. 'It's your business to believe things.' 'Well, I do believe some things, of course,' conceded Father Brown; 'and therefore, of course, I don't believe other things.' ."

"'You do believe it,' he said. 'You do believe everything. We all believe everything, even when we deny everything. The denyers believe. The unbelievers believe. Don't you feel in your heart that these contradictions do not really contradict: that there is a cosmos that contains them all? The soul goes round upon a wheel of stars and all things return; perhaps Strake and I have striven in many shapes, beast against beast and bird against bird, and perhaps we shall strive for ever. But since we seek and need each other, even that eternal hatred is an eternal love. Good and evil go round in a wheel that is one thing and not many. Do you not realize in your heart, do you not believe behind all your beliefs, that there is but one reality and we are its shadows; and that all things are but aspects of one thing: a centre where men melt into Man and Man into God?' 'No,' said Father Brown."

"He had the notion that because I am a clergyman I should believe anything. Many people have little notions of that kind."

"All things are from God; and above all, reason and imagination and the great gifts of the mind. They are good in themselves; and we must not altogether forget their origin even in their perversion."

"'I'm afraid I'm a practical man,' said the doctor with gruff humour, 'and I don't bother much about religion and philosophy.' 'You'll never be a practical man till you do,' said Father Brown. 'Look here, doctor; you know me pretty well; I think you know I'm not a bigot. You know I know there are all sorts in all religions; good men in bad ones and bad men in good ones."

"Yet he is right enough about there being a white magic, if he only knows where to look for it."

"[N]othing is more terrible than a bed; since it is always waiting to be a death-bed."

"Those dry Deists and hard-headed Utilitarians who stalked the streets of Edinburgh and Glasgow in the eighteenth and early nineteenth centuries were very obviously the products of the national religious spirit. The Scottish atheists were unmistakable children of the Kirk. And though they often seemed absurdly detached and dehumanised, the world is now rather suffering for want of such dull lucidity."

"In the days when Stevenson's ancestors the Covenanters were fighting with the Cavaliers, a fine old Cavalier of the Episcopalian persuasion made a rather interesting remark; that the change he really hated was represented by saying 'The Lord' instead of 'Our Lord.' The latter implied affection, the former only fear; indeed he described the former succinctly as the talk of devils. And this is so far true that the very eloquent language in which the name of 'The Lord' has figured has generally been the language of might and majesty and even terror. And there really was implied in it in varying degrees the idea of glorifying God for His greatness rather than His goodness. And again there occurred the natural inversion of ideas. Since the Puritan was content to cry with the Moslem: 'God is great,' so the descendant of the Puritan is always a little inclined to cry with the Nietzschean: 'Greatness is God.' In some of the really evil extremes, this sentiment shaded darkly into a sort of diabolism."

"It has been much debated whether bullies are always cowards; I am content to remark that the admirers of bullies are always, by the very nature of things, trying to be cowards. If they do not always succeed, it is because they have unconscious virtues restraining that obscene worship."

"[G]uesses about the fashions of the future are generally quite wide of the mark, because they are founded on a very obvious fallacy. They always imply that public taste will continue to progress in its present direction; which is, in truth, the only thing we know that it will not do. A thing that wanders away in great winding curves may end anywhere; but to turn each curve into a straight line striking out into the void will be wrong in any case."

"In the matter of reforming things, as distinct from deforming them, there is one plain and simple principle; a principle which will probably be called a paradox. There exists in such a case a certain institution or law; let us say, for the sake of simplicity, a fence or gate erected across a road. The more modern type of reformer goes gaily up to it and says, "I don't see the use of this; let us clear it away." To which the more intelligent type of reformer will do well to answer: "If you don't see the use of it, I certainly won't let you clear it away. Go away and think. Then, when you can come back and tell me that you do see the use of it, I may allow you to destroy it." This paradox rests on the most elementary common sense. The gate or fence did not grow there. It was not set up by somnambulists who built it in their sleep. It is highly improbable that it was put there by escaped lunatics who were for some reason loose in the street. Some person had some reason for thinking it would be a good thing for somebody. And until we know what the reason was, we really cannot judge whether the reason was reasonable. It is extremely probable that we have overlooked some whole aspect of the question, if something set up by human beings like ourselves seems to be entirely meaningless and mysterious. There are reformers who get over this difficulty by assuming that all their fathers were fools; but if that be so, we can only say that folly appears to be a hereditary disease. But the truth is that nobody has any business to destroy a social institution until he has really seen it as an historical institution. If he knows how it arose, and what purposes it was supposed to serve, he may really be able to say that they were bad purposes, or that they have since become bad purposes, or that they are purposes which are no longer served. But if he simply stares at the thing as a senseless monstrosity that has somehow sprung up in his path, it is he and not the traditionalist who is suffering from an illusion."

"A man must love a thing very much if he not only practices it without any hope of fame and money, but even practices it without any hope of doing it well."

"Never invoke the gods unless you really want them to appear. It annoys them very much."

"A modern man may disapprove of some of his sweeping reforms, and approve others; but finds it difficult not to admire even where he does not approve."

"I've searched all the parks in all the cities — and found no statues of Committees."

"The poor object to being governed badly, while the rich object to being governed at all."

"An open mind is really a mark of foolishness, like an open mouth. Mouths and minds were made to shut; they were made to open only in order to shut."

"When people stop believing in God, they don't believe in nothing — they believe in anything."

"A weak mind is like a microscope, which magnifies trifling things but cannot receive great ones."

"Don't ever take a fence down until you know the reason why it was put up."

"Q: What's wrong with the world? A: I am."

"A man knocking on the door of a brothel is looking for God."

"A man can never quite understand a boy, even when he has been the boy."

"Moral issues are always terribly complex for someone without principles."

"The insistence of the Christian doctrine on man's limited condition was somehow enough of a philosophy to allow its adherents a very deep insight into the essential inhumanity of all those modern attempts – psychological, technical, biological – to change man into the monster of superman. They realized that a pursuit of happiness which actually means to wipe away all tears will pretty quickly end by wiping out all laughter. It was again Christianity which taught them that nothing human can exist beyond tears and laughter, except the silence of despair."

"Mr Chesterton was not mistaken in his vocation when he set out to write stories. He is a born story-teller, which is quite a different thing from being a born novelist. The old trade of story-telling is, as he himself has said, a much older thing than the modern art of fiction. The Oriental who spread his carpet in the marketplace, the medieval bard who sang a ballad at his master's feast, made no appeal to that curiosity about the varieties of the human soul which is increasingly the inspiration of the modern novel. If he touched on human psychology at all he dealt only with those primal passions and desires which are common to all normal men. But, for the interest of his art, he depended simply upon his capacity to tell a good story, and to tell it well. In the last resort, Mr. Chesterton's novels depend for their interest on the same power."

"In its fundamental conception, as well as in many of the significant details of its working out, Lord of the Rings is heavily indebted to G. K. Chesterton's now little read poem of 1911,The Ballad of the White Horse. The major theme of both works is the war and eventual victory, despite all odds, of an alliance of good folk against vastly more powerful forces of evil, and the return of a king to his rightful state. Like Lord of the Rings, Chesterton's poem is set in a heroic society after the decay of a highly civilized imperial power — in England, that is to say, in the aftermath of the Roman Empire. (Tolkien's Minas Tirith, built on seven levels, greatly resembles a medieval idealization of Rome.) King Alfred, its hero, is fighting a losing war to save his kingdom from complete conquest by the Danes. As one would expect with Chesterton, it is a war of white against black, of Christianity against a diabolical paganism that has defeated Rome and is now trying to make all good men its slaves]]. ... The enemy is not simply Danes, or barbarians in general, but a wholly malignant and almost irresistible force that stands behind all the enemies of Christianity: This power blights everything it touches — there are repeated references to its distorting effects even on the natural world — and the men who serve it become like Tolkien's Orcs. ... To fight against this menace, Alfred, hiding in exile, summons three kindreds of free, Christian peoples as allies. Alfred himself, like Tolkien's Aragorn, is an idealized heroic figure who roams around in humble disguise and is sometimes mistreated by the ignorant. Instead of Dwarves, Elves, and Men of Numenorean descent, he leads an alliance of Saxons, Celts, and Romans."

"Dickens's "best novel" is probably Bleak House; that is Mr. Chesterton’s opinion, and there is no better critic of Dickens living than Mr. Chesterton."

"Chesterton was important — as important to me in his way as C. S. Lewis had been. You see, while I loved Tolkien and while I wished to have written his book, I had no desire at all to write like him. Tolkien's words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm. Chesterton was the complete opposite. I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight."

"Chesterton and Tolkien and Lewis were, as I've said, not the only writers I read between the ages of six and thirteen, but they were the authors I read over and over again; each of them played a part in building me. Without them, I cannot imagine that I would have become a writer, and certainly not a writer of fantastic fiction. I would not have understood that the best way to show people true things is from a direction that they had not imagined the truth coming, nor that the majesty and the magic of belief and dreams could be a vital part of life and of writing. And without those three writers, I would not be here today. And nor, of course, would any of you. I thank you."

"I consider it as being without possible comparison the best book ever written on St. Thomas. Nothing short of genius can account for such an achievement. Everybody will no doubt admit that it is a ‘clever’ book, but the few readers who have spent twenty or thirty years in studying St. Thomas...cannot fail to perceive that the so-called ‘wit’ of Chesterton has put their scholarship to shame. He has guessed all that which we had tried to demonstrate, and he has said all that which they were more or less clumsily attempting to express in academic formulas. Chesterton was one of the deepest thinkers who ever existed; he was deep because he was right; and he could not help being right; but he could not either help being modest and charitable, so he left it to those who could understand him to know that he was right, and deep; to the others, he apologized for being right, and he made up for being deep by being witty. That is all they can see of him."

"There is great poetry being written now. G.K. Chesterton, for instance."

"Several books I purchased on my trip, among them G. K. Chesterton's The Ballad of the White Horse. Ever read it? It's great."

"To speak of ideals and their significance as goals to be reached for is to put one's finger on an ever-recurring theme in Chesterton's productive life, the indignant rejection of pessimism in any and all of its forms. This is not to say that he was unaware that there is evil — a great deal of it — in this world. His life was one continuous campaign against the evils he perceived, one of the chief of which was the denial that there is good in the world, the denial that life is basically good."

"He was a polemicist of rare quality, but he wrote and spoke always with such good humour that he seldom made enemies."

"Ten or twenty years ago, the form of nationalism most closely corresponding to Communism today was political Catholicism. Its most outstanding exponent – though he was perhaps an extreme case rather than a typical one – was G. K. Chesterton. Chesterton was a writer of considerable talent who chose to suppress both his sensibilities and his intellectual honesty in the cause of Roman Catholic propaganda. During the last twenty years or so of his life, his entire output was in reality an endless repetition of the same thing, under its laboured cleverness as simple and boring as ‘Great is Diana of the Ephesians’. Every book that he wrote, every paragraph, every sentence, every incident in every story, every scrap of dialogue, had to demonstrate beyond possibility of mistake the superiority of the Catholic over the Protestant or the pagan. But Chesterton was not content to think of this superiority as merely intellectual or spiritual: it had to be translated into terms of national prestige and military power, which entailed an ignorant idealization of the Latin countries, especially France. Chesterton had not lived long in France, and his picture of it – as a land of Catholic peasants incessantly singing the Marseillaise over glasses of red wine – had about as much relation to reality as Chu Chin Chow has to everyday life in Baghdad. And with this went not only an enormous over-estimation of French military power (both before and after 1914-18 he maintained that France, by itself, was stronger than Germany), but a silly and vulgar glorification of the actual process of war. Chesterton’s battle poems, such as ‘Lepanto’ or ‘The Ballad of Saint Barbara’, make ‘The Charge of the Light Brigade’ read like a pacifist tract: they are perhaps the most tawdry bits of bombast to be found in our language. The interesting thing is that had the romantic rubbish which he habitually wrote about France and the French army been written by somebody else about Britain and the British army, he would have been the first to jeer. In home politics he was a Little Englander, a true hater of jingoism and imperialism, and according to his lights a true friend of democracy. Yet when he looked outwards into the international field, he could forsake his principles without even noticing he was doing so. Thus, his almost mystical belief in the virtues of democracy did not prevent him from admiring Mussolini. Mussolini had destroyed the representative government and the freedom of the press for which Chesterton had struggled so hard at home, but Mussolini was an Italian and had made Italy strong, and that settled the matter. Nor did Chesterton ever find a word to say about imperialism and the conquest of coloured races when they were practised by Italians or Frenchmen. His hold on reality, his literary taste, and even to some extent his moral sense, were dislocated as soon as his nationalistic loyalties were involved."

"The meeting between Chesterton and Il Duce occurred in 1929, ten years before the war, at a time when, whatever his other faults, Mussolini had reintroduced a mark spirit of optimism and freshness to an Italy that had formerly been pessimistic and stagnant. Throughout the 1920s, Chesterton thought he saw in the Italian leader qualities that might have offset certain evils in Britain. It is important to keep in mind that whatever the misreadings of fascism, Chesterton always had some quite specific British problem in view when he praises Mussolini."

"For Chesterton... British public rhetoric was more than a mere style: "The motive is the desire to disguise a thing even when expressing it." To his mind, the dictator's words, even if his actions were as bad or worse than those of the parliamentarians, were morally and stylistically superior. At least they said openly what was being done openly. The British rhetoric, for Chesterton, was one with the decayed British liberalism that allowed exploitation of workers by plutocrats who were never rebuked by government or the courts. If nothing else, Mussolini's language was a bracing alternative. Gazing back across the horrors of World War II, it is hard for us to imagine how good men like Chesterton, whatever their objections to British liberalism, could admire Mussolini, though several prominent intellectuals and politicians did. Many of us have family members or friends who fought or died to stop the fascist darkness, and we find it difficult to sympathize with Chesterton's desire to be fair to Mussolini. Mussolini's thuggish violence, of course, Chesterton and others rejected. But their admiration was an index of the scale of reform they thought needed."

"I have the greatest possible admiration for “Tremendous Trifles” and the other fairy tales – Heavens! how I can see Mr. Chesterton's beaming face crying happily, “But that’s just it! Life is a fairy tale!” Heavens! – but I believe his view of life to be based on a misconception. To put it in a theological way, he denies that God made the brain as well as the heart. He despises wisdom...Like all sentimentalists he is cruel."

""Chesterton's Post" is a call for action: Sometimes we need to intervene just to preserve what we already have. This separation is jarring."

"The fence analogy colorfully conveys why some may be reluctant to embrace radical changes in government institutions, public policies, and social norms. It embodies the insight that stable institutions are hard to create and easy to destroy."

"Tout ce qui plaît a une raison de plaire, et mépriser les attroupements de ceux qui s'égarent n'est pas le moyen de les ramener où ils devraient être."

"Toutes les beautés contiennent, comme tous les phénomènes possibles, quelque chose d'éternel et quelque chose de transitoire — d'absolu et de particulier."

"Nous avons psychologisé comme les fous, qui augmentent leur folie en s’efforçant de la comprendre."

"La danse peut révéler tout ce que la musique recèle de mystérieux, et elle a de plus le mérite d'être humaine et palpable. La danse, c'est la poésie avec des bras et des jambs, ..."

"Tu m’as donné ta boue et j’en ai fait de l’or."

"Hélas! tout est abîme, — action, désir, rêve, Parole!"

"Delacroix était passionnément amoureux de la passion, et froidement déterminé à chercher les moyens d'exprimer la passion de la manière la plus visible. Dans ce double caractère, nous trouvons, disons-le en passant, les deux signes qui marquent les plus solides génies, génies extrêmes."

"Le génie n'est que l'enfance retrouvée à volonté."

"Hypocrite lecteur, — mon semblable, — mon frère!"

"Si le viol, le poison, le poignard, l'incendie, N'ont pas encor brodé de leurs plaisants dessins Le canevas banal de nos piteux destins, C'est que notre âme, hélas! n'est pas assez hardie."

"Le Poète est semblable au prince des nuées Qui hante la tempête et se rit de l’archer ; Exilé sur le sol au milieu des huées, Ses ailes de géant l’empêchent de marcher."

"La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles; L’homme y passe à travers des forêts de symboles Qui l’observent avec des regards familiers."

"I think there can be few examples of a life as dilapidated as mine."

"Ô douleur! ô douleur! Le Temps mange la vie."

"Homme libre, toujours tu chériras la mer."

"Je suis belle, ô mortels! comme un rêve de pierre, Et mon sein, où chacun s’est meurtri tour à tour, Est fait pour inspirer au poète un amour Eternel et muet ainsi que la matière.'Je trône dans l’azur comme un sphinx incompris; J’unis un cœur de neige à la blancheur des cygnes; Je hais le mouvement qui déplace les lignes, Et jamais je ne pleure et jamais je ne ris."

"Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté."

"Ne cherchez plus mon cœur; des monstres l’ont mangé."

"Bientôt nous plongerons dans les froides ténèbres; Adieu, vive clarté de nos étés trop courts!"

"Je suis un cimetière abhorré de la lune."

"Fourmillante cité, cité pleine de rêves, Où le spectre en plein jour raccroche le passant!"

"C'était l'heure où l'essaim des rêves malfaisants Tord sur leurs oreillers les bruns adolescents."

"Un soir, l'âme du vin chantait dans les bouteilles: "Homme, vers toi je pousse, ô cher déshérité, Sous ma prison de verre et mes cires vermeilles.""

"En toi je tomberai, végétale ambroisie, Grain précieux jeté par l'éternel Semeur, Pour que de notre amour naisse la poésie Qui jaillira vers Dieu comme une rare fleur!"

"Ô toi, le plus savant et le plus beau des Anges, Dieu trahi par le sort et privé de louanges,'Ô Satan, prends pitié de ma longue misère!'Ô Prince de l'exil, à qui l'on a fait tort Et qui, vaincu, toujours te redresses plus fort,'Ô Satan, prends pitié de ma longue misère!'Toi qui sais tout, grand roi des choses souterraines, Guérisseur familier des angoisses humaines,'Ô Satan, prends pitié de ma longue misère!'Toi qui, même aux lépreux, aux parias maudits, Enseignes par l'amour le goût du Paradis,'Ô Satan, prends pitié de ma longue misère!"

"Gloire et louange à toi, Satan, dans les hauteurs Du Ciel, où tu régnas, et dans les profondeurs de l’Enfer, où, vaincu, tu rêves en silence! Fais que mon âme un jour, sous l’Arbre de Science, Près de toi se repose, à l’heure où sur ton front Comme un Temple nouveau ses rameaux s’épandront!"

"Quelle est cette île triste et noire? — C'est Cythère, Nous dit-on, un pays fameux dans les chansons Eldorado banal de tous les vieux garçons. Regardez, après tout, c'est une pauvre terre."

"Although we have a heart for the work, Art is long and time is short."

""Le Guignon" (quoting Hippocrates)"

"C'est l'imagination qui a enseigné à l'homme le sens moral de la couleur, du contour, du son et du parfum. Elle a créé, au commencement du monde, l'analogie et la métaphore. Elle décompose toute la création, et, avec les matériaux amassés et disposés suivant des règles dont on ne peut trouver l'origine que dans le plus profond de l'âme, elle crée un monde nouveau, elle produit la sensation du neuf. Comme elle a créé le monde (on peut bien dire cela, je crois, même dans un sens religieux), il est juste qu'elle le gouverne."

"L'imagination est la reine du vrai, et le possible est une des provinces du vrai. Elle est positivement apparentée avec l'infini.'Sans elle, toutes les facultés, si solides ou si aiguisées qu'elles soient, sont comme si elles n'étaient pas, tandis que la faiblesse de quelques facultés secondaires, excitées par une imagination vigoureuse, est un malheur secondaire. Aucune ne peut se passer d'elle, et elle peut suppléer quelques-unes. Souvent ce que celles-ci cherchent et ne trouvent qu'après les essais successifs de plusieurs méthodes non adaptées à la nature des choses, fièrement et simplement elle le devine. Enfin elle joue un rôle puissant même dans la morale; car, permettez-moi d'aller jusque-là, qu'est-ce que la vertu sans imagination?"

"In times of old when Nature in her glad excess Brought forth such living marvels as no more are seen, I should have loved to dwell with a young giantess, Like a voluptuous cat about the feet of a queen."

"Hélas! les vices de l’homme, si pleins d’horreur qu’on les suppose, contiennent la preuve (quand ce ne serait que leur infinie expansion!) de son goût de l’infini."

"L’homme qui, dès le commencement, a été longtemps baigné dans la molle atmosphère de la femme, dans l’odeur de ses mains, de son sein, de ses genoux, de sa chevelure, de ses vêtements souples et flottants,'Dulce balneum suavibus Unguentatum odoribus,'y a contracté une délicatesse d’épiderme et une distinction d’accent, une espèce d’androgynéité, sans lesquelles le génie le plus âpre et le plus viril reste, relativement à la perfection dans l’art, un être incomplet."

"Ah! miserable dog, if I had offered you a package of excrement, you would have smelled it with delight and perhaps devoured it. In this, poor companion of my sad life, you are like the public, to whom one must never present delicate perfumes, which exasperate them, but only carefully chosen filth."

"Each man carries within himself his own dose of natural opium, incessantly secreted and renewed, and, from birth to death, how many hours can we count filled with pleasure, with prosperous and effective action?"

"Quel est celui de nous qui n'a pas, dans ses jours d'ambition, rêvé le miracle d'une prose poétique, musicale sans rythme et sans rime, assez souple et assez heurtée pour s'adapter aux mouvements lyriques de l'âme, aux ondulations de la rêverie, aux soubresauts de la conscience?'C'est surtout de la fréquentation des villes énormes, c'est du croisement de leurs innombrables rapports que naît cet idéal obsédant."

"L'étude du beau est un duel où l'artiste crie de frayeur avant d'être vaincu."

"Mais qu'importe l'éternité de la damnation à qui a trouvé dans une seconde l'infini de la jouissance?"

"Et à quoi bon exécuter des projets, puisque le projet est en lui-même une jouissance suffisante?"

"Il n'est pas de plaisir plus doux que de surprendre un homme en lui donnant plus qu'il n'espère."

"On n'est jamais excusable d'être méchant, mais il y a quelque mérite à savoir qu'on l'est; et le plus irréparable des vices est de faire le mal par bêtise."

"L'âme est une chose si impalpable, si souvent inutile et quelquefois si gênante, que je n'éprouvai, quant à cette perte, qu'un peu moins d'émotion que si j'avais égaré, dans une promenade, ma carte de visite."

"La plus belle des ruses du diable est de vous persuader qu'il n'existe pas."

"Cette vie est un hôpital où chaque malade est possédé du désir de changer de lit."

"Le génie n'est que l'enfance retrouvée à volonté, l'enfance douée maintenant, pour s'exprimer, d'organes virils et de l'esprit analytique qui lui permet d'ordonner la somme de matériaux involontairement amassée."

"L'observateur est un prince qui jouit partout de son incognito. L'amateur de la vie fait du monde sa famille, comme l'amateur du beau sexe compose sa famille de toutes les beautés trouvées, trouvables et introuvables; comme l'amateur de tableaux vit dans une société enchantée de rêves peints sur toile."

"La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable."

"A coup sûr, cet homme, tel que je l'ai dépeint, ce solitaire doué d'une imagination active, toujours voyageant à travers le grand désert d'hommes, a un but plus élevé que celui d'un pur flâneur, un but plus général, autre que le plaisir fugitif de la circonstance. Il cherche ce quelque chose qu'on nous permettra d'appeler la modernité; car il ne se présente pas de meilleur mot pour exprimer l'idée en question. Il s'agit, pour lui, de dégager de la mode ce qu'elle peut contenir de poétique dans l'historique, de tirer l'éternel du transitoire."

"Le mal se fait sans effort, naturellement, par fatalité; le bien est toujours le produit d'un art."

"Pour le commerçant, l’honnêteté elle-même est une spéculation de lucre."

"Il serait peut-être doux d'être alternativement victime et bourreau."

"La femme est naturelle, c'est-à-dire abominable."

"Être un homme utile m'a paru toujours quelque chose de bien hideux."

"Il faut travailler, sinon par goût, au moins par désespoir, puisque, tout bien vérifié, travailler est moins ennuyeux que s'amuser."

"Il y a dans tout homme, à toute heure, deux postulations simultanées, l'une vers Dieu, l'autre vers Satan."

"Il n’y a de gouvernement raisonnable et assuré que l’aristocratique. Monarchie ou république, basées sur la démocratie, sont également absurdes et faibles. Immense nausée des affiches."

"Il n'existe que trois êtres respectables: le prêtre, le guerrier, le poète. Savoir, tuer et créer. Les autres hommes sont taillables et corvéables, faits pour l'écurie, c'est-à-dire pour exercer ce qu'on appelle des professions."

"Ne pouvant supprimer l'amour, l'Église a voulu au moins le désinfecter, et elle a fait le mariage."

"J'ai toujours été étonné qu'on laissât les femmes entrer dans les églises. Quelle conversation peuvent-elles avoir avec Dieu?"

"La femme ne sait pas séparer l'âme du corps."

"La jeune fille, ce qu'elle est en réalité.'Une petite sotte et une petite salope; la plus grande imbécile unie à la plus grande dépravation."

"Glorifier le culte des images (ma grande, mon unique, ma primitive passion)."

"C'est par le malentendu universel que tout le monde s'accorde.'Car si, par malheur, on se comprenait, on ne pourrait jamais s'accorder."

"On ne peut oublier le temps qu'en s'en servant."

"Faire son devoir tous les jours et se fier à Dieu, pour le lendemain."

"The more a man cultivates the arts, the less he gets hard. There is an ever more sensible divorce between the spirit and the brute. Only the brute gets a good hard-on, and fucking is the lyricism of the masses. To fuck is to aspire to enter another, and the artist never pulls out of himself."

"There is an invincible taste for prostitution in the heart of man, from which comes his horror of solitude. He wants to be two. The man of genius wants to be one.… It is this horror of solitude, the need to lose oneself in the external flesh, that man nobly calls the need to love."

"The unique and supreme pleasure of love lies in the certainty of doing evil–and men and women know from birth that all pleasure lies in evil."

"Dieu est le seul être qui, pour régner, n'ait même pas besoin d'exister.'Ce qui est créé par l’esprit est plus vivant que la matière."

"L’amour ressemblait fort à une torture ou à une opération chirurgicale."

"Aimer les femmes intelligentes est un plaisir de pédéraste."

"Ces beaux et grands navires, imperceptiblement balancés (dandinés) sur les eaux tranquilles, ces robustes navires, à l'air désœuvré et nostalgique, ne nous disent-ils pas dans une langue muette : Quand partons-nous pour le bonheur?"

"Je ne conçois guère (mon cerveau serait-il un miroir ensorcelé?) un type de Beauté où il n'y ait du Malheur. Appuyé sur — d'autres diraient: obsédé par — ces idées, on conçoit qu'il me serait difficile de en pas conclure que le plus parfait type de Beauté virile est Satan, — à la manière de Milton."

"Ce qu'il y a d'enivrant dans le mauvais goût, c'est le plaisir aristocratique de déplaire."

"Le mot littérature de décadence implique qu'il y a une échelle de littératures, une vagissante, une puérile, une adolescente, etc. Ce terme, veux-je dire, suppose quelque chose de fatal et de providentiel, comme un décret inéluctable; et il est tout à fait injuste de nous reprocher d'accomplir la loi mystérieuse. Tout ce que je puis comprendre dans la parole académique, c'est qu'il est honteux d'obéir à cette loi avec plaisir, et que nous sommes coupables de nous réjouir dans notre destinée."

"Le progrès, cette grande hérésie de la décrépitude."

"Un artiste n'est un artiste que grâce à son sens exquis du beau, — sens qui lui procure des jouissances enivrantes, mais qui en même temps implique, enferme un sens également exquis de toute difformité et de toute disproportion."

"C'est à la fois par la poésie et à travers la poésie, par et à travers la musique, que l'âme entrevoit les splendeurs situées derrière le tombeau; et, quand un poème exquis amène les larmes au bord des yeux, ces larmes ne sont pas la preuve d'un excès de jouissance, elles sont bien plutôt le témoignage d'une mélancolie irritée, d'une postulation des nerfs, d'une nature exilée dans l'imparfait et qui voudrait s'emparer immédiatement, sur cette terre même, d'un paradis révélé."

"Il y a dans le mot, dans le verbe, quelque chose de sacré qui nous défend d'en faire un jeu de hasard. Manier savamment une langue, c'est pratiquer une espèce de sorcellerie évocatoire."

"Tous les grands poètes deviennent naturellement, fatalement, critiques."

"La Révolution a été faite par des voluptueux."

"Dieu serait injuste si nous n'étions pas coupables."

"Baudelaire, to whom the sole pleasure in love was the knowledge of doing evil and who hoped to conquer solitude by inspiring universal horror and disgust."

"The imagination eulogized by Baudelaire is in his own case more often than not a synonym for desire or despair. His critical exigencies are, like those of the profoundly sick man that he was, harsh and imperative and illusory in the sense of release temporarily obtained. Yet imagination is also the faculty that gives Baudelaire a royal sense of equality with other creative artists; he uses his status as a poet to boost his activities as a critic, claiming, with total justification in his case, that criticism is a creative affair, a fine rather than applied art."

"Being pre-eminently a moralist, he needed a medium that enabled him to illustrate a moral insight as briefly and vividly as possible. Being an artist and sensualist, he needed a medium that was epigrammatic or aphoristic, but allowed him scope for fantasy and for that element of suggestiveness which he considered essential to beauty."

"Anna Margolin was greatly influenced by Baudelaire, Verlaine, and Rimbaud..."

"Baudelaire's words about the albatross aptly apply to the nineteenth century: "He is affixed to the earth by his tent of giant wings."""

"He had brought a volume of Baudelaire which we read a few pages of when we had the time."

"Baudelaire is the great symbol of l’art pour l’art (art for the sake of art): sickness as beauty. Baudelaire is thus Liberalism in literature, disease as a principle of Life, crisis as health, morbidity as soul-life, disintegration as purpose."

"Poe with a cross, that's what you are, adored of the gangster age."

"The poet, says Baudelaire, is a decipherer, a Kabbalist of reality, a decoder. Ordinary life, if it is not a message in code, a system of symbols for something else, is unacceptable. It must be a cryptogram; it can't be what it seems. The poet's task is to decode the incomprehensible obvious. His life becomes a deliberately constructed paranoia, as Rimbaud, Breton, Artaud were to say generations later.As we read him, we discover that Baudelaire believes in the charm, the incantation, the cryptogram, but he ceases to believe in the secret. The spirits have not risen. The code says nothing. This is the mystery concealed by the disorder of the world. The visionary experience ends in itself; the light of the illuminated comes only from and falls only on himself."

"Delacroix, Wagner, Baudelaire — all great theorists, bent on dominating other minds by sensuous means. Their one dream was to create the irresistible effect — to intoxicate, or overwhelm. They looked to analysis to provide them with the keyboard on which to play, with certainty, on man's emotions, and they sought in abstract meditation they key to sure and certain action upon their subject — man's nervous and psychic being."

"Oh Baudelaire... He used to be enormously important to me. It's thanks to him that I was able to get through the war [in Paris, during 1940 – 1945 Van Velde had a long and painful break, with only a few paintings he finished]. A true loyal mind without hypocrisy. The most universal spirit. The greatest Frenchman. I have always been much less interested in painters [than Baudelaire - a great surprise to hear for Charles Juliet the interviewer]."

"Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseauism in all its forms. Today, Rousseauism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse."

"Notwithstanding his desperate effort to realize Poe’s idea, he [Baudelaire] only proved Poe correct, who had said that no man can bare his heart quite naked; there always will be something held back, something false ostentatiously thrust forward. The grimace, the attitude, the pomp of rhetoric are so many buffers between the soul of man and the sharp reality of published confessions."

"But to explore the invisible and to hear the unheard are very different from reviving the dead: Baudelaire is therefore first among seers, the king of poets, a true God. And yet even he lived in too aestheticized a world; and the forms for which he is praised are really quite trite: the inventions of the unknown demand new forms."

"The lot of critics is to be remembered by what they failed to understand."

"Acting is therefore the lowest of the arts, if it is an art at all."

"The public will accept a masterpiece, but it will not accept an attempt to write a masterpiece."

"I have always noticed that when a fellow wants to finish a play, the only way to do it is to go away to the country and leave no address."

"He must put his shoulder to the wheel and get it right; one more push, that was all that was wanted."

"Faith goes out of the window when beauty comes in at the door."

"The mind petrifies if a circle be drawn around it, and it can hardly be denied that dogma draws a circle round the mind."

"A man travels the world over in search of what he needs and returns home to find it."

"A great artist is always before his time or behind it."

"The hours I spend with you I look upon as sort of a perfumed garden, a dim twilight, and a fountain singing to it... you and you alone make me feel that I am alive... Other men it is said have seen angels, but I have seen thee and thou art enough."

"My soul, so far as I understand it, has very kindly taken colour and form from the many various modes of life that self-will and an impetuous temperament have forced me to indulge in. Therefore I may say that I am free from original qualities, defects, tastes, etc. What is mine I have acquired, or, to speak more exactly, chance bestowed, and still bestows, upon me. I came into the world apparently with a nature like a smooth sheet of wax, bearing no impress, but capable of receiving any; of being moulded into all shapes."

"Terrible is the day when each sees his soul naked, stripped of all veil; that dear soul which he cannot change or discard, and which is so irreparably his."

"But if you want to be a painter you must go to France — France is the only school of Art."

"Never could I interest myself in a book if it were not the exact diet my mind required at the time, or in the very immediate future. The mind asked, received, and digested. So much was assimilated, so much expelled; then, after a season, similar demands were made, the same processes were repeated out of sight, below consciousness, as is the case in a well-ordered stomach."

"Ugliness is trivial, the monstrous is terrible."

"It does not matter how badly you paint so long as you don't paint badly like other people."

"The world is dying of machinery; that is the great disease, that is the plague that will sweep away and destroy civilization; man will have to rise against it sooner or later."

"Love — but not marriage. Marriage means a four-post bed and papa and mamma between eleven and twelve. Love is aspiration: transparencies, colour, light, a sense of the unreal. But a wife — you know all about her — who her father was, who her mother was, what she thinks of you and her opinion of the neighbours over the way. Where, then, is the dream?"

"Injustice we worship; all that lifts us out of the miseries of life is the sublime fruit of injustice. Every immortal deed was an act of fearful injustice; the world of grandeur, of triumph, of courage, of lofty aspiration, was built up on injustice. Man would not be man but for injustice."

"It is said that young men of genius come to London with great poems and dramas in their pockets and find every door closed against them. Chatterton's death perpetuated this legend. But when I, George Moore, came to London in search of literary adventure, I found a ready welcome. Possibly I should not have been accorded any welcome had I been anything but an ordinary person."

"I will admit that an artist may be great and limited; by one word he may light up an abyss of soul; but there must be this one magical and unique word. Shakespeare gives us the word, Balzac, sometimes, after pages of vain striving, gives us the word, Tourgueneff gives it with miraculous certainty; but Henry James, no; a hundred times he flutters about it; his whole book is one long flutter near to the one magical and unique word, but the word is not spoken; and for want of the word his characters are never resolved out of the haze of nebulae. You are on a bowing acquaintance with them; they pass you in the street, they stop and speak to you, you know how they are dressed, you watch the colour of their eyes."

"One thing that cannot be denied to the realists: a constant and intense desire to write well, to write artistically. When I think of what they have done in the matter of the use of words, of the myriad verbal effects they have discovered, of the thousand forms of composition they have created, how they have remodelled and refashioned the language in their untiring striving for intensity of expression for the very osmazome of art, I am lost in ultimate wonder and admiration."

"We all want notoriety; our desires on this point, as upon others, are not noble, but the human is very despicable vermin and only tolerable when it tends to the brute, and away from the evangelical."

"Humanity is a pigsty, where lions, hypocrites, and the obscene in spirit congregate."

"All reformers are bachelors."

"After all there is but one race — humanity."

"The difficulty in life is the choice."

"The wrong way always seems the more reasonable."

"It would appear that practical morality consists in making the meeting of men and women as casual as that of animals."

"I am filled with pride when I think of the noble and exalted world that must have existed before Christian doctrine caused men to look upon women with suspicion and bade them to think of angels instead."

"One must be in London to see the spring."

"We humans are more complicated than animals, and we love through the imagination."

"Self is man's main business; all outside of self is uncertain, all comes from self, all returns to self."

"...day before yesterday I read "Esther Waters" for the 60th time. It is a book I keep for very bad days, and it never fails me...I don't know why "Esther Waters" has this magic effect on me - because I do not like horses particularly or care about racing [. . . . . .] or servants (White. Black ones are nice). Or religion - Still there it is. Magic for me. Every time."

"George Moore had a ceaseless preoccupation with painting and the theatre, within certain limits a technical understanding of both; whatever idea possessed him, courage and explosive power; but sacrificed all that seemed to other men good breeding, honour, friendship, in pursuit of what he called the root facts of life."

"I told him that he was more mob than man, always an enthusiastic listener or noisy interrupter. Yet I admired him and found myself his advocate. I wrote to Lady Gregory: "He is constantly so likeable that one can believe no evil of him, and then in a moment a kind of a devil takes hold of him, his voice changes, his look changes, and he becomes hateful... It is so hard not to trust him, and yet he is quite untrustworthy. He has what Talleyrand calls 'the terrible gift of familiarity.'""

"I can't tell you how urbane and sprightly the old poll parrot was; and (this is what I think using the brain does for one), not a pocket, not a crevice, of pomp, humbug, respectability in him: he was fresh as a daisy."

"It is the addition of strangeness to beauty that constitutes the romantic character in art."

"Every intellectual product must be judged from the point of view of the age and the people in which it was produced."

"The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all "the ends of the world are come," and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed! All the thoughts and experience of the world have etched and moulded there, in that which they have of power to refine and make expressive the outward form, the animalism of Greece, the lust of Rome, the reverie of the middle age with its spiritual ambition and imaginative loves, the return of the Pagan world, the sins of the Borgias. She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants: and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands. The fancy of a perpetual life, sweeping together ten thousand experiences, is an old one; and modern thought has conceived the idea of humanity as wrought upon by, and summing up in itself, all modes of thought and life. Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea."

"Not the fruit of experience, but experience itself, is the end. A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to to be seen in them by the finest senses? How shall we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy. To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life."

"What we have to do is to be forever curiously testing new opinions and courting new impressions."

"Art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass."

"Rousseau … asked himself how he might make as much as possible of the interval that remained; and he was not biassed by anything in his previous life when he decided that it must be by intellectual excitement."

"A book, like a person, has its fortunes with one; is lucky or unlucky in the precise moment of its falling in our way, and often by some happy accident counts with us for something more than its independent value."

"To know when one's self is interested, is the first condition of interesting other people."

"We need some imaginative stimulus, some not impossible ideal such as may shape vague hope, and transform it into effective desire, to carry us year after year, without disgust, through the routine-work which is so large a part of life."

"Pater is a neglected author to-day. One can understand why. His mind is a little languid, his style a little mannered, and himself a little over-serious. There is something ludicrous in expounding the art of enjoyment in so hushed and solemn a tone. All the same, it is a great pity to neglect Pater. To a degree unparalleled among English writers, he combined the two qualities essential for critical appreciation—common sense and uncommon sensibility."

"There's no geist like the Zeitgeist."

"No original Gauguins were to be seen in Australia, for post-impressionism was officially thought to be the vulgar effusion of five-thumbed lunatics. (p. 24)"

"If the making of the series had one repeated phrase that still echoes in my head, it was not heard on the soundtrack; the inexorable voice of Lorna Pegram, the producer, muttering: "It's a clever argument, Bob dear, but what are we supposed to be looking at?" (p. 7)"

"In the real world, mice do exist and they generally go about their business whether we see them or not. (p. 17)"

"With hindsight, one can perhaps see that unachievable projects were the right monuments to an ideal. Because they were not built, they could not be destroyed. (p. 92)"

"The essential difference between a sculpture like Andre's Equivalent VIII, 1978, and any that had existed before in the past is that Andre's array of bricks depends not just partly, but entirely, on the museum for its context. A Rodin in a parking lot is still a misplaced Rodin; Andre's bricks in the same place can only be a pile of bricks. (p. 393)"

"If Australia had not been settled as a prison and built by convict labor, it would have been colonized by other means; that was foreordained from the moment of Cook’s landing at Botany Bay in 1770. But it would have taken half a century longer, for Georgian Britain would have found it exceptionally difficult to find settlers crazy or needy enough to go there of their own free will."

"In America, nostalgia for things is apt to set in before they go."

"The desire to be primitive was very much a function of fin-de-siècle imperialism; it appealed to strong egos and domineering minds."

"Far from affording artists continuous inspiration, mass-media sources for art have become a dead end. They have combined with the abstractness of institutional art teaching to produce a fine-arts culture given over to information and not experience. This faithfully echoes the drain of concreteness from modern existence— the reign of mere unassimilated data instead of events that gain meaning by being absorbed into the fabric of imaginative life."

"What strip-mining is to nature, the art market has become to culture."

"Perhaps the rhinos and she-crocodiles whose gyrations between Mortimer's and East Hampton give us our vision of social eminence today are content to entrust their faces to Andy Warhol's mingily cosmetic Polaroidising, but one would bet they would rather go to Sargent."

"It was van Gogh's madness that prevented him from working; the paintings themselves are ineffably sane, if sanity is to be defined in terms of exact judgment of ends and means and the power of visual analysis."

"The sense of not having the whole story that comes from living close up to traumatic events."

"It is the nature of carnivores to get power and then, having disposed of their enemies, to deploy the emollient powers of Great Art to make themselves look like herbivores."

"The hallmark of the minor artist is to be obsessed with style as an end in itself."

"Like most artists who have made an invention of some kind, he tends to overplay the significance of his own and goes on about it as though it were a Rosetta Stone, with whose help all representation can be rescued from one-eyed falsehood."

"New Song rapidly accumulated a nucleus of talent, and its best-known group was Els Setze Jutges, The Sixteen Judges, whose odd-sounding name came from a phrase used as a password by Catalan patriot troops during the rising against and occupation army in 1640 during the Reapers' War: "Setze jutges d'un jutjat menjen fetge d'un penjat" ("Sixteen judges on a tribunal eat the liver of a hanged man"). No lisping Castilian, it was believed, could pronounce this barrage of fricatives."

"Everything that would be said against the Eixample's heirs, from Le Corbusier's 'ville radieuse' to Oscar Niemeyer's Brasilia, was already said, with far less justice, about the Eixample itself. And all its critics concurred that the basic mistake was to have left the planning of a city in the hands of a socialist."

"One thing is sure: the Sagrada Familia is the first Catholic temple whose bacon was ever saved by Shinto tourism. Not even Gaudi, who believed in miracles, could have forseen that."

"It's bad to use words like 'genius' unless you are talking about the late Jean-Michel Basquiat, the black Chatterton of the 80s who, during a picturesque career as sexual hustler, addict and juvenile art-star, made a superficial mark on the cultural surface by folding the conventions of street graffiti into those of art brut before killing himself with an overdose at the age of twenty-seven. The first stage of Basquiat's fate, in the mid-80s, was to be effusively welcomed by an art industry so trivialized by fashion and blinded by money that it couldn't tell a scribble from a Leonardo. Its second stage was to be dropped by the same audience, when the novelty of his work wore off. The third was an attempt at apotheosis four years after his death, with a large retrospective at the Whitney Museum designed to sanitise his short, frantic life and position him as a kind of all-purpose, inflatable martyr-figure, thus restoring the dollar value of his oeuvre in a time of collapsing prices for American contemporary art. One contributor to the catalogue proclaimed that "Jean remains wrapped in the silent purple toga of immortality"; another opined that "he is as close to Goya as American painting has ever produced." A third, not to be outdone, extolled Basquiat's "punishing regime of self-abuse" as part of "the disciplines imposed by the principle of inverse ascetism to which he was so resolutely committed." These disciplines of inverse ascetism, one sees, mean shooting smack until you drop dead."

"I realized that there is nothing whatever outside of the life we have; that the "meaning of life" is nothing other than life itself, obstinately asserting itself against emptiness and nullity."

"We all come into the world with baggage which, in the end, we have no hope of reclaiming, The main item in mine was my father."

"...what has become my frequent prayer since I have had to face death -"Thy holy will, O Lord, not mine be done!""

"How immeasurably fortunate my father was in his faith!"

"But the Japanese paper was what I loved, and now, so many years later, when I see some exquisitely laid piece of calligraphy by a student of Ogata Korin in a museum, I think first not of the spiritualized handwork of Momoyama Japan, but of those long evenings in the family garage with Dad, smoothing and stretching the refined wing coverings of those planes."

"The best thing fishing taught me, I think was how to be alone. Without this ability no writer can really survive or work, and there is a strong relationship between the activity of the fisherman, letting his line down into unknown depths in the hope of catching an unseen prey (which may be worth keeping, or may not) and that of a writer trolling his memory and reflections for unexpected jags and jerks of association."

"Enforced solitude, as in solitary confinement, is a terrible and disorienting punishment, but freely chosen solitude is an immense blessing. To be out of the rattle and clang of quotidian life, to be away from the garbage of other people's amusements and the overflow of their unwanted subjectivities, is the essential escape. Solitude is, beyond question, one of the worlds great gifts and an indispensable aid to creativity, no matter what level that creation may be hatched at."

"Our culture puts enormous emphasis on "socialization", on the supposedly supreme virtues of establishing close relations with others."

"So fishing contributed to an important lesson of my life -how to be alone. I still think solitude is one of the world's great gifts. "Se sei solo," wrote Leonardo da Vinci, "sarai tutto tuo""

"I managed to fail Arts I, a course that a moderately intelligent amoeba could have passed without special coaching."

"...A column is not merely a round stick of stone: it is part of an entire symbolic system, which one cannot intuit simply by looking at it in isolation. The basic reason for studying such things is not merely technical or archivally historical but humanistic; it is to seek out the answer to what someone like Vitruvius meant by his (to us) mysterious comment that "a building should have the proportions of a man,""

"The past is pervasive; it seeps into everything;... And yet because the past is irreplaceable and cannot be done again, it was that very past, not the present or the future, that was so delicate, so vulnerable, so dreadfully easy to erase."

"The truly radical work of art is the one that offers you something to hold on to in the midst of the flux of possibility."

"Some new works of art have values of some kind or another. Others, the majority, have little or none. But newness as such, in art, is never a value."

"The greater the artist, the greater the doubt; perfect confidence is granted to the less talented as a consolation prize."

"Part of me wants to say with Wordsworth: 'Bliss was it in that dawn to be alive.' But if you ask me was it worth it, I don't think it was. If you pin me against a wall and ask: 'Schama, do you think more human happiness than unhappiness emerged?' I have to say no."

"I remember we thought that, whatever else happened in the remainder of the century, two traditional issues were going to go away. One was the nation, which was simply going to dissolve because the new realities were international. We thought the story of the nation had come to an end in 1945 in the rubble of Berlin. The second was organized religion—the new world realities would be technological. I've been kicking myself ever since. Religion and the persistence of nationalism have proved two of the most overwhelmingly important issues."

"When I started writing [Citizens], I thought the revolution of 1789 then goes on the skids and turns into the Terror of 1793. But I became more and more alarmed by what happened in 1789, and more and more bleak about what it is we are supposed to be celebrating. It dawned on me that no sooner had the Declaration of the Rights of Man been signed than a law was passed which allowed opening of mail, stopped freedom of movement and had a brutal attitude to who was a patriot and who was not. Then there was the violence. It was not the fact of decapitation so much as the way these people self-consciously understood what you could do with violence, the way violence could construct allegiances. I'm not saying no good came of the revolution. There was the definition of a citizen with equal rights before the law, the emancipation of the Jews and black slaves – these were intrinsically noble. But the way the revolution enacts these doesn't accidentally produce violence. It necessarily produces violence. And if you look at the landscape of France in 1799 with Bonapartist military dictatorship, the balance is unhappy rather than happy."

"Historians are left forever chasing shadows, painfully aware of their inability ever to reconstruct a dead world in its completeness however thorough or revealing their documentation. We are doomed to be forever hailing someone who has just gone around the corner and out of earshot."

"Landscape is the work of the mind. Its scenery is built up as much from the strata of memory as layers of rocks... The book [Landscape and Memory] is a celebration of the improbable resilience both of the Earth and of the ability of these cultural contacts to survive the nightmares of late capitalism and late industrialization. I don't want to be understood as some anti-environmentalist, which I am most emphatically not, but I do have an argument with the notion that there is this determined history whereby technological society is necessarily going to mean oblivion for nature."

"If there's one four-letter word that runs through my television history, oddly it is "Rome". Over time, I came to realise that Rome doesn't just come and go in England's history; instead, we have had an extended love-hate relationship with Rome, whether as empire or church."

"Right through British history we see this constant pull between piety and pragmatism, between deference to the monarch as a godlike figure, and a requirement that he runs the business of Albion with practical efficiency."

"To be fully MAGA is still to live, 24/7, within a parallel universe, hermetically closed off from the inconvenient intrusion of fact, blissfully captive to a fantastic theology."

"Inheriting the acronym from the father figure of radio populism, Rush Limbaugh, Trump habitually dismisses his Republican adversaries as Rinos (Republicans In Name Only). But the gravamen of the charges levelled by Liz Cheney and Chris Christie is that the real Rino, the fake conservative, is actually Trump himself."

"Repeatedly, this reviewer was struck by the interest of Schama's comparisons and the manner in which his vignettes illuminate and advance his themes. His understanding of the human creation of place is profound. Schama has produced a great work of imaginative history and a powerful, yet sinuous, narrative. If this method is at times facile and his arguments or examples sometimes forced, his range is astonishing. Few historians could have written a work of this scope and scale."

"This is the most marvellous book I have read about the French Revolution in the last 50 years. It is beautifully written, with, every now and then, the most wonderful throw-away line. Its importance, in view of all the fuss over the bicentenary of the French Revolution, is that it concentrates very sharply on what the French Revolution was really about: violence and random killing, mostly in Paris... The book is beautifully written, fully illustrated, and throughout enlightened with a great deal of compassion as well as humour."

"This is a book to be read and re-read, to be dipped into again and again and savored, because there is only so much that one can take in at a single reading. The writing style is the finest and most appealing by an academician that this reviewer has encountered in decades. In summation, there is hardly a page that does not contain a sentence or a paragraph that one would like to memorize and to quote. The opening paragraph of the book, in fact, will draw the reader to it like a magnet and keep him or her there to the final page. And that is no mean achievement for any writer in any age!"

"Here Schama is at his best, allowing his imagination to roam in a series of free associations. The stories, as throughout the book, are told with verve, a Dickensian delight in idiosyncracies, and a stupendous ability to engage and entertain the reader."

"It is the profusion of detail, and the rush of his anecdotal style that make his book both remarkable and engaging. We may perhaps learn from him how, in postmodernist manner, we may treat landscape as a text, with an impersonal author, history itself. "The sum of our pasts", he writes, "generation laid over generation, like the slow mold of the seasons, forms the compost of our future. We live off it.""

"There is the view that poetry should improve your life. I think people confuse it with the ."

"Did I say that? One says so many things, and the problem is they all get written down."

"It didn’t pay very much, but it enabled me to get other jobs doing art criticism, which I didn’t want to do very much, but as so often when you exhibit reluctance to do something, people think you must be very good at it. If I had set out to be an art critic, I might never have succeeded."

"When I originally started writing, I expected that probably very few people would read my poetry because in those days people didn’t read poetry much anyway."

"Well, there are certain stock words that I have found myself using a great deal. When I become aware of them, it is an alarm signal meaning I am falling back on something that has served in the past—it is a sign of not thinking at the present moment, not that there is anything intrinsically bad about certain words or phrases."

"Somewhere someone is traveling furiously toward you, At incredible speed, traveling day and night, Through blizzards and desert heat, across torrents, through narrow passes. But will he know where to find you, Recognize you when he sees you, Give you the thing he has for you?"

"In the beginning there are those who don't quite fit in But are somehow okay. And then some morning There are places that suddenly seem wonderful: Weather and water seem wonderful, And the peaceful night sky that arrives In time to protect us, like a sword Cutting the blue cloak of a prince."

"These two guys in the front yard— Are they here to help?"

"John Ashbery, incontrovertibly a great poet, remains both difficult and underread, even by his readers."

"He had meticulous taste, if taste is a form of discernment, and discernment a kind of care and humility toward the world, its material stuff as well as its arbitrary weathers. He was drawn to the local and to the minor, the huge field of forgotten or overlooked or insignificant details of daily life, which he was able to transcribe, without relying on either mirrors or windows, but on the capaciousness of his restless, inquisitive, integrating imagination. He seemed to have an infinite resource of words and a flexible, if sometimes dissonant, syntax into which to put them. His poems are always in the service of making new relations, so that meanings arise without the insistent correlate of understanding but, instead, offer to his readers a new way to find sense in an apprehension or awareness of the variety of this world, and the capacity of language to provide ways of perceiving and, somehow, renovating it."

"Hofmann is perhaps the most difficult artist alive-difficult to grasp and to appreciate. But by the same token he is an immensely interesting, original, and rewarding one, whose troubles in clarifying his art stem in large part precisely from the fact that he has so much to say."

"One is also reminded of how in art the tortoise so often overtakes the hare. Not all, but too many of the best writers, composers, and artists of our time begin to be acclaimed only when they no longer have anything to say and take to performing instead of stating. This is how they first become accessible to broad taste, which is lazy taste, and by the same token to the processes of publicity and consecration. As long as they were trammeled up in the urgency of getting things said they were too difficult, too "controversial.""

"the dividing line between the painterly and the linear [painting] is by no means a hard and fast one."

"It has become apparent that art can have a startling impact without really being or saying anything startling — or new. The character itself of being startling, spectacular, or upsetting has become conventionalized, part of safe good taste."

"The essence of modernism lies in the use of the characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Modernism used art to call attention to art. The limitations that constitute the medium of painting - the flat surface, the shape of the support, the properties of the pigment - came to be regarded as positive factors, and were acknowledged openly."

"Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art."

"It belongs to journalism — and to the millennial complex from which so many journalists and journalist intellectuals suffer in our day — that each new phase of Modernist art should be hailed as the start of a whole new epoch in art, marking a decisive break with all the customs and conventions of the past. Each time, a kind of art is expected so unlike all previous kinds of art, and so free from norms of practice or taste, that everybody, regardless of how informed or uninformed he happens to be, can have his say about it. And each time, this expectation has been disappointed, as the phase of Modernist art in question finally takes its place in the intelligible continuity of taste and tradition.Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is — among other things — continuity, and unthinkable without it. Lacking the past of art, and the need and compulsion to maintain its standards of excellence, Modernist art would lack both substance and justification."

"The main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda, that kitsch is more pliable to this end."

"Perhaps the greatest change that industrialism (along with Protestantism and rationalism) has made in daily life is to separate work from leisure in a radical and almost absolute way. Once the efficacy of work began to be more clearly and fully appreciated, work had to become more efficacious in itself — that is, more efficient. To this end, it had to be more sharply separated from everything that was not work; it had to be made more concentratedly and purely itself — in attitude, in method and, above all, in time. Moreover, under the rule of efficiency, seriously purposeful activity in general tended to become assimilated to work. The effect of all this has been to reduce leisure to an occasion more exclusively of passivity, to a breathing spell and interlude; it has become something peripheral."

"Once efficiency is universally accepted as a rule, it becomes an inner compulsion and weighs like a sense of sin, simply because no one can ever be efficient enough, just as no one can ever be virtuous enough. And this new sense of sin only contributes further to the enervation of leisure, for the rich as well as the poor.The difficulty of carrying on a leisure-oriented tradition of culture in a work-oriented society is enough in itself to keep the present crisis in our culture unresolved."

"Complete honesty has nothing to do with "purity" or naivety. The full truth is unattainable to naivety, and the completely honest artist is not pure in heart."

"One cannot condemn tendencies in art; one can only condemn works of art. To be categorically against a current art tendency or style means, in effect, to pronounce on works of art not yet created and not yet seen. It means inquiring into the motives of artists instead of into results. Yet we all know — or are supposed to know — that results are all that count in art."

"The paradox in the evolution of French painting from Courbet to Cézanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity."

"A large picture can give us images of things, but a relatively small one can best re-create the instantaneous unity of nature as a view — the unity of which the eyes take in at a single glance."

"The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself."

"The superior artist is the one who knows how to be influenced."

"Matisse's art speaks for itself through its "mechanics", it's "form" and through the feeling which that "form" makes manifest. It's not by far the first to do so and to transcend the illustrated subject by doing so. (All good painting and sculpture does that to some extent). But just as Matisse rejected verbal rhetoric so he kept every last trace of illustrational rhetoric out of his art. He may have been the first painter in our tradition to do that in a really radical way. This doesn't make his art better than a Giotto's or Caravaggio's or Goya's or David's, not necessarily. But it does make it a salutary example for all those people who find it hard, in any medium, to mean what they say."

""Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness." This is part of the pity of Modernism, one of the sacrifices it enjoins...."

"Clement Greenberg talked about the ideas or possibilities of painting in his — I think —, 'After Abstract Expressionism' article, and he allows a blank canvas to be an idea for a painting. It might not be a good idea, but it’s certainly valid. Yves Klein did the empty gallery. He sold air, and that was a conceptualized art, I guess."

"At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event."

"Belonging to a generation is one of the lowest forms of solidarity."

"As with other modern artists, his readings provided not an organized outlook but a kind of metaphysical hum that surrounded his mental operations. His thinking was truly systematic only when it dealt with achieving the reality of the art object as a "creation out of nothing," which was a common theme in New York art after the last war and the break with the European past."

"Abandoned by philosophy, politics, and sociology, historical determinism continues to hold out in formalist art criticism."

"The aim of every authentic artist is not to conform to the history of art but to release himself from it, in order to replace it with his own history. However the historical pattern is drawn, it will not fit the developing sensibility of the individual."

"Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism."

"Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated."

"The internationalization of art becomes a factor contributing to the estrangement of art from the artist. The sum of works of all times and places stands against him as an entity with objectives and values of its own. In turn, since becoming aware of the organized body of artworks as the obstacle to his own aesthetic self-affirmation, the artist is pushed toward anti-intellectualism and willful dismissal of the art of the past."

"Imitation of the art of earlier centuries, as that done by Picasso and Modigliani, is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail."

"One cannot, however, avoid saying a few words about individuals who lay down the law to art in the name of art history. Art criticism today is beset by art historians turned inside out to function as prophets of so-called inevitable trends. A determinism similar to that projected into the evolution of past styles is clamped upon art in the making. In this parody of art history, value judgments are deduced from a presumed logic of development, and an ultimatum is issued to artists either to accommodate themselves to these values or be banned from the art of the future."

"The mingling of object and image in collage, of given fact and conscious artifice, corresponds to the illusion-producing processes of contemporary civilization. In advertisements, news stories, films, and political campaigns, lumps of unassailable data are implanted in preconceived formats in order to make the entire fabrication credible. Documents waved at hearings by Joseph McCarthy to substantiate his fictive accusations were a version of collage, as is the corpse of Lenin, inserted by Stalin into the Moscow mausoleum to authenticate his own contrived ideology. Twentieth-century fictions are rarely made up of the whole cloth, perhaps because the public has been trained to have faith in "information." Collage is the primary formula of the aesthetics of mystification developed in our time."

"An art mode, new or old, is for the creative mind essentially a point of beginning. Content is brought into being by the activity through which the artist translates the movement into himself. In such an appropriation, there is no difference between an ongoing movement and one that is finished. During the reign of Minimalism, a painter might realize the new through Impressionism. That art history has a schedule of continuous advances en masse is a fantasy of the historian. The shared syntax of art movements is constantly replaced by the sensibility and practice of individuals. The avant-garde art of yesterday is the only modern equivalent of an aesthetic tradition. The fading of the ideas of a movement does not mean that it can no longer be a stimulus to creation. At the very dawn of a movement, the work of its artists commences to replace the concept; instead of Cubism there appear Picasso, Braque, Gris. Compared to the activities to which they give rise, ideas in art have a brief life. In the last analysis, the vitality of art in our time depends on works produced by movements after they have died."

"Greatness in art is always a by-product."

"The interval during which a painting is mistaken for the real thing, or a real thing for a painting, is the triumphant moment of trompe l'oeil art. The artist appears to be potent as nature, if not superior to it. Almost immediately, though, the spectator's uncertainty is eliminated by his recognition that the counterfeit is counterfeit. Once the illusion is dissolved, what is left is an object that is interesting not as a work of art but as a successful simulation of something that is not art. The major response to it is curiosity: "How did he do it?""

"Illusionistic art appeals to what the public knows not about art but about things. This ability to brush art aside is the secret of the popularity of illusionism. Ever since the Greeks told of painted grapes being pecked by real birds, wonder at skill in deceiving the eye has moved more people than appreciation of aesthetic quality. But for art to depend exclusively upon reproducing appearances has the disadvantage of requiring that the painting or sculpture conform to the common perception of things."

"The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible."

"Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition."

"In the United States, revolts tends to be directed against specific situations, rarely against the social structure as a whole."

"If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself."

"The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art."

"It is not logical for art to be logical. Art goes against the grain of the times as readily as it goes with it and at the very same moment. Instead of seeking the nearest exit, art responds to a new situation by uncovering a labyrinth of problems."

"The skills of the modern artist are the opposite of those of the craftsman: instead of acquiring techniques for producing classes of objects, the artist today perfects the means suited to his particular work."

"How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members."

"Both art and the artist lack identity and define themselves only through their encounter with each other."

"The artist is obliged to invent the self who will paint his pictures."

"Not only the artist but everyone "becomes someone else" in becoming someone. One is thought about, thus invented. Or as Steinberg put it with memorable succinctness in his Cogito drawings, "I think, therefore Descartes is." One creates not oneself but another. Being is in the act."

"Not only were the minds of artists formed by the university; in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio."

"For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group — or, at best, one who collaborates, with secret reservations."

"Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist."

"The struggle to make an absolute statement in an individually conceived vocabulary accounts for the profound tensions inherent in the best modern work."

"In time of war all countries behave equally badly, because the power of action is handed over to stupid and obstinate men."

"Those who wish, in the interest of morality, to reduce Leonardo, that inexhaustible source of creative power, to a neutral or sexless agency, have a strange idea of doing service to his reputation."

"Gargoyles were the complement to saints; Leonardo's caricatures were complementary to his untiring search for ideal beauty. And gargoyles were the expression of all the passions, the animal forces, the Caliban gruntings and groanings which are left in human nature when the divine has been poured away. Leonardo was less concerned than his Gothic predecessors with the ethereal parts of our nature, and so his caricatures, in their expression of passionate energy, merge imperceptibly into the heroic."

"Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed — can even be enhanced — by description."

"To Leonardo a landscape, like a human being, was part of a vast machine, to be understood part by part and, if possible, in the whole. Rocks were not simply decorative silhouettes. They were part of the earth's bones, with an anatomy of their own, caused by some remote seismic upheaval. Clouds were not random curls of the brush, drawn by some celestial artist, but were the congregation of tiny drops formed from the evaporation of the sea, and soon would pour back their rain into the rivers."

"Leonardo is the Hamlet of art history whom each of us must recreate for himself."

"It is widely supposed that the naked human body is in itself an object upon which the eye dwells with pleasure and which we are glad to see depicted. But anyone who has frequented art schools and seen the shapeless, pitiful model that the students are industriously drawing will know this is an illusion. The body is not one of those objects which can be made into art by direct transcription — like a tiger or a snowy landscape. Often in looking at the natural and animal world we joyfully identify ourselves with what we see and from this happy union create a work of art. This is the process students of aesthetics call empathy, and it is at the opposite pole of creative activity to the state of mind that has produced the nude. A mass of naked figures does not move us to empathy, but to disillusion and dismay."

"The various parts of the body cannot be perceived as simple units and have no clear relationship to one another. In almost every detail the body is not the shape that art has led us to believe it should be."

"No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow — and if it does not do so it is bad art and false morals."

"The nude gains its enduring value from the fact that it reconciles several contrary states. It takes the most sensual and immediately interesting object, the human body, and puts it out of reach of time and desire; it takes the most purely rational concept of which mankind is capable, mathematical order, and makes it a delight to the senses; and it takes the vague fears of the unknown and sweetens them by showing that the gods are like men and may be worshiped for their life-giving beauty rather than their death-dealing powers."

"Energy is eternal delight; and from the earliest times human beings have tried to imprison it in some durable hieroglyphic. It is perhaps the first of all the subjects of art."

"Early artists considered the human body, that forked radish, that defenseless starfish, a poor vehicle for the expression of energy, compared to the muscle-rippling bull and the streamlined antelope. Once more it was the Greeks, by their idealization of man, who turned the human body into an incarnation of energy, to us the most satisfying of all, for although it can never attain the uninhibited physical flow of the animal, its movements concern us more closely. Through art we can relive them in our own bodies, and achieve thereby that enhanced vitality which all thinkers on art, from Goethe to Berenson, have recognized as one of the chief sources of aesthetic pleasure."

"It remains true that Michelangelo's intensely personal use of the nude greatly altered its character. He changed it from a means of embodying ideas to a means of expressing emotions; he transformed it from the world of living to the world of becoming. And he projected his world of the imagination with such unequaled artistic power that its shadow fell on every male nude in art for three hundred and fifty years. Painters either imitated his heroic poses and proportions or they reacted against them self-consciously and sought a new repertoire of attitudes in the art of fifth-century Greece. In the nineteenth century the ghost of Michelangelo was still posing the models in art schools."

"Antique art has come down to us in a fragmentary condition, and we have virtuously adapted our taste to this necessity. Almost all our favorite specimens of Greek sculpture, from the sixth century onward, were originally parts of compositions, and if we were faced with the complete group in which the Charioteer of Delphi was once a subsidiary figure, we might well experience a moment of revulsion. We have come to think of the fragment as more vivid, more concentrated, and more authentic."

"His long struggle with physical passion was almost over, and, as with many other great sensualists, its place had been taken by an obsession with death."

"Conventional nudes based on classical originals could bear no burden of thought or inner life without losing their formal completeness."

"Two pictures painted in the year 1907 can conveniently be taken as the starting point of twentieth-century art. They are Matisse's Blue Nude and Picasso's Demoiselles d'Avignon; and both these cardinal, revolutionary pictures represent the nude. The reason is that the revolt of twentieth-century painters was not against academicism: that had been achieved by the impressionists. It was a revolt against the doctrine, with which the impressionists implicitly agreed, that the painter should be no more than a sensitive and well-informed camera. And the very elements of symbolism and abstraction that made the nude an unsuitable subject for the impressionists commended it to their successors. When art was once more concerned with concepts rather than sensations, the nude was the first concept that came to mind."

"The eye instinctively looks for analogies and amplifies them, so that a face imagined in the pattern of a wallpaper may become more vivid than a photograph."

"Ruskin's much-derided moral theory of art was part of an attempt to show that this human activity, which we value so highly, engaged the whole of human personality. His insistence on the sanctity of nature was part of an attempt to develop Goethe's intuition that form cannot be put together in the mind by an additive process, but is to be deduced from the laws of growth in living organisms, and their resistance to the elements."

"Changes in the structure of society are not brought about solely by massive engines of doctrine. The first flash of insight which persuades human beings to change their basic assumptions is usually contained in a few phrases."

"Great works of art can be produced in barbarous societies — in fact the very narrowness of primitive society gives their ornamental art a peculiar concentration and vitality. At some time in the ninth century one could have looked down the Seine and seen the prow of a Viking ship coming up the river. Looked at today in the British Museum, it is a powerful work of art; but to the mother of a family trying to settle down in her little hut, it would have seemed less agreeable — as menacing to her civilisation as the periscope of a nuclear submarine."

"People sometimes tell me that they prefer barbarism to civilisation. I doubt if they have given it a long enough trial. Like the people of Alexandria, they are bored by civilisation; but all the evidence suggests that the boredom of barbarism is infinitely greater."

"Seen by itself the David's body might be some unusually taut and vivid work of antiquity; it is only when we come to the head that we are aware of a spiritual force that the ancient world never knew. I suppose that this quality, which I may call heroic, is not a part of most people's idea of civilisation. It involves a contempt for convenience and a sacrifice of all those pleasures that contribute to what we call civilised life. It is the enemy of happiness. And yet we recognise that to despise material obstacles, and even to defy the blind forces of fate, is man's supreme achievement; and since, in the end, civilisation depends on man's extending his powers of mind and spirit to the utmost, we must reckon the emergence of Michelangelo as one of the great events in the history of western man."

"Heroes do not easily tolerate the company of other heroes."

"The great artist takes what he needs."

"The convention by which the great events in biblical or secular history could be enacted only by magnificent physical specimens, handsome and well-groomed, went on for a long time — till the middle of the nineteenth century. Only a very few artists — perhaps only Rembrandt and Caravaggio in the first rank — were independent enough to stand against it. And I think that this convention, which was an element in the so-called grand manner, became a deadening influence on the European mind. It deadened our sense of truth, even our sense of moral responsibility."

"I wonder if a single thought that has helped forward the human spirit has ever been conceived or written down in an enormous room."

"As for the Messiah, it is, like Michelangelo's Creation of Adam, one of those rare works that appeal immediately to everyone, and yet is indisputably a masterpiece of the highest order."

"Opera, next to Gothic architecture, is one of the strangest inventions of western man. It could not have been foreseen by any logical process."

"What on earth has given opera its prestige in western civilisation — a prestige that has outlasted so many different fashions and ways of thought? Why are people prepared to sit silently for three hours listening to a performance of which they do not understand a word and of which they very seldom know the plot? Why do quite small towns all over Germany and Italy still devote a large portion of their budgets to this irrational entertainment? Partly, of course, because it is a display of skill, like a football match. But chiefly, I think, because it is irrational. "What is too silly to be said may be sung" — well, yes; but what is too subtle to be said, or too deeply felt, or too revealing or too mysterious — these things can also be sung and can only be sung."

"We are so much accustomed to the humanitarian outlook that we forget how little it counted in earlier ages of civilisation. Ask any decent person in England or America what he thinks matters most in human conduct: five to one his answer will be "kindness." It's not a word that would have crossed the lips of any of the earlier heroes of this series. If you had asked St. Francis what mattered in life, he would, we know, have answered "chastity, obedience and poverty"; if you had asked Dante or Michelangelo, they might have answered "disdain of baseness and injustice"; if you had asked Goethe, he would have said "to live in the whole and the beautiful." But kindness, never. Our ancestors didn't use the word, and they did not greatly value the quality — except perhaps insofar as they valued compassion."

"We have no idea where we are going, and sweeping, confident articles on the future seem to me, intellectually, the most disreputable of all forms of public utterance. The scientists who are best qualified to talk have kept their mouths shut."

"Our universe cannot even be stated symbolically. And this touches us all more directly than one might suppose. For example, artists, who have been very little influenced by social systems, have always responded instinctively to latent assumptions about the shape of the universe. The incomprehensibility of our new cosmos seems to me, ultimately, to be the reason for the chaos of modern art."

"One musn't overrate the culture of what used to be called "top people" before the wars. They had charming manners, but they were as ignorant as swans."

"Bright-minded young people think poorly of existing institutions and want to abolish them. Well, one doesn't need to be young to dislike institutions. But the dreary fact remains that, even in the darkest ages, it was institutions that made society work, and if civilisation is to survive society must somehow be made to work.At this point I reveal myself in my true colours, as a stick-in-the-mud. I hold a number of beliefs that have been repudiated by the liveliest intellects of our time. I believe that order is better than chaos, creation better than destruction. I prefer gentleness to violence, forgiveness to vendetta. I believe that in spite of the recent triumphs of science, men haven't changed much in the last two thousand years; and in consequence we must still try to learn from history. History is ourselves."

"It is lack of confidence, more than anything else, that kills a civilisation. We can destroy ourselves by cynicism and disillusion, just as effectively as by bombs."

"Totalitarian art must be a form of classicism: the state which is founded on order and subordination demands an art with a similar basis. Romantic painting, however popular, expresses the revolt of the individual. The State also requires an art of reason by which appropriate works may be produced as required. Inspiration is outside state control. The classic attitude toward subject matter — that it should be clear and unequivocal — supports the attitude of unquestioning belief. Add the fact that totalitarian art must be real enough to please the ignorant, ideal enough to commemorate a national hero, and well enough designed to present a memorable image, and one sees how perfectly The Death of Marat fills the bill. That it happens also to be a great work of art makes it dangerously misleading."

"However much the various phases of the French Revolution may have modelled themselves on Roman history — the early phase on Republican virtue, the later on Imperial grandeur — the fact remains that classicism depended on a fixed and rational philosophy; whereas the spirit of the Revolution was one of change and of emotion."

"There is no doubt that Goya thought that one of the drugs chiefly responsible for the sleep of reason was the Church, and he had the lowest possible opinion of ecclesiastical institutions. However, this did not prevent him from painting religious pictures, completely sincerely because, like all Latin people, however little he believed in Christianity, he felt himself to be within the structure of the Catholic Church. One of his finest works was the decoration of a church near Madrid called S. Antonio de la Florida. He used the kind of device that would have appealed to Tiepolo. He painted a balcony round the drum of a cupola, and behind it he put a crowd of loiterers who are supposed to be watching the saint raise a man from the dead. Very few of them are interested in this unusual event. They are interested in each other or themselves, and show very well the curious tension between the individual and the collective, which is the essence of a crowd."

"Ingres was one of those artists to whom the outline was something sacred and magical, and the reason is that it was the means of reconciling the major conflict in his art, the conflict between abstraction and sensibility. The difference between what we see and a sheet of white paper with a few thin lines on it is very great. Yet this abstraction is one which we seem to have adopted almost instinctively at an early stage in our development not only in Neolithic graffiti but in early Egyptian drawings. And in spite of its abstract character, the outline is responsive to the least tremor of sensibility."

"For the student of visionary art the interesting fact is that an image comes first and takes up residence in the mind long before the artist has any notion why it is there or what it means. Whether visions come from some great reservoir of symbolic images which are eternally there (and if one examines the recurrence of images in history this proposition is not quite as crazy as it sounds) or whether they are due to buried memories, their obsessive power over an artist's mind, and their clear, compulsive emergence in his work depends on a mental condition that can come and go. When, for some reason, they no longer present themselves to the mind's eye, alive or clamoring to be born, the visionary artist has a hard time — dark days. This is particularly true if he has lost the habit of feeding his mind on the observation of nature."

"This became Delacroix's theme: that the achievements of the spirit — all that a great library contained — were the result of a state of society so delicately balanced that at the least touch they would be crushed beneath an avalanche of pent-up animal forces."

"Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition. Ruskin said in his Elements of Drawing, "Give me some mud off a city crossing, some ochre out of a gravel-pit, a little whitening, and some coal dust, and I will paint you a luminous picture, if you give me time to gradate my mud, and subdue my dust." In many works by the greatest colourists — Rembrandt and Watteau are examples — there are very few identifiable colours."

"Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea."

"Only the bad artists of the nineteenth century were frightened by the invention of photography; the good ones all welcomed it and used it. Degas liked it not only because it provided an accurate record, but because the snapshot showed him a means of escape from the classical rules of design. Through it he learnt to make a composition without the use of formal symmetry."

"To anyone who is not an artist it must seem rather strange that Degas who could do anything — for whom setting down what he saw presented no difficulties at all — should have continued to draw the same poses year after year — often, it would seem, with increasing difficulty. Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs, it was one of the things that gave him so much sympathy with dancers. He was continually struggling to achieve an idea of perfect form, but this did not prevent him looking for the truth in what might seem an artificial situation."

"Almost all great painters in old age arrive at the same kind of broad, simplified style, as if they wanted to summarise the whole of their experience in a few strokes and blobs of colour."

"(Men you respect most?) Sir Kenneth Clark, for his vast knowledge and his generosity of mind and heart in communicating it to an audience of millions, who will now become a little more able to accept art and give it a place of meaning in their lives."

"I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It's a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages."

"Now I am quietly waiting for the catastrophe of my personality to seem beautiful again, and interesting, and modern.The country is grey and brown and white in trees, snows and skies of laughter always diminishing, less funny not just darker, not just grey.It may be the coldest day of the year, what does he think of that? I mean, what do I? And if I do, perhaps I am myself again."

"And always embrace things, people earth sky stars, as I do, freely and with the appropriate sense of space."

"The beauty of America, neither cool jazz nor devoured Egyptian heroes, lies in lives in the darkness I inhabit in the midst of sterile millions."

"It is even in prose, I am a real poet. My poem is finished and I haven't mentioned orange yet It's twelve poems, I call it oranges."

"People I read a lot to my son were people like Robert Bly and Lucille Clifton, Frank O’Hara for some reason, Chinese poems, Japanese poems."

"Idealists, workers of thought, unite to show how inspiration and genius walk in step with the progress of the machine, of aircraft, of industry, of trade, of the sciences, of electricity."

"Madness blew so violently on the immeasurable air pump of the circuit, that it took the form of a spiral, rising like a screw to the Zenith.. [describing the Brescia automobile races, in 1907]"

"O my brother Futurists! All of you, look at yourselves!.. ..In the name of that Human Pride we so adore, I proclaim that the hour is nigh when men with broad temples and steel chins will give birth magnificently, with a single trust of their bulging will, to giants with flawless gestures."

"..there is no longer any beauty except the struggle. Any work of art that lacks a sense of aggression can never be a masterpiece."

"While an artist is labouring at his work of art, nothing prevents it from surpassing Dream. As soon as it is finished, the work must be hidden or destroyed, or better still, thrown as a prey to the brutal crowd which will magnify it by killing it with its scorn, and thereby intensify its absurd uselessness. We thus condemn art as finished work, we conceive of it only in its movement, in the state of effort and draft. Art is simply a possibility for absolute conquest. For the artist, to complete is to die."

"We affirm that the world's magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath – a roaring car that seems to run on grapeshot is more beautiful than The Victory of Samoth-race (1910)."

"..a member of anarchist and revolutionary circles, attracted in turn by violent action and by dream, before resolving to dedicate him to painting. [describing Boccioni ]"

"We had stayed up all night — my friends and I — beneath mosque lamps hanging from the ceiling. Their brass domes were filigreed, starred like our souls; just as, again like our souls, they were illuminated by the imprisoned brilliance of an electric heart. On the opulent oriental rugs, we had crushed our ancestral lethargy, arguing all the way to the final frontiers of logic and blackening reams of paper with delirious writings."

"THE MANIFESTO OF FUTURISM"

"11. We shall sing the great masses shaken with work, pleasure, or rebellion: we shall sing the multicolored and polyphonic tidal waves of revolution in the modern metropolis; shall sing the vibrating nocturnal fervor of factories and shipyards burning under violent electrical moons; bloated railroad stations that devour smoking serpents; factories hanging from the sky by the twisting threads of spiraling smoke; bridges like gigantic gymnasts who span rivers, flashing at the sun with the gleam of a knife; adventurous steamships that scent the horizon, locomotives with their swollen chest, pawing the tracks like massive steel horses bridled with pipes, and the oscillating flight of airplanes, whose propeller flaps at the wind like a flag and seems to applaud like a delirious crowd."

"It is from Italy that we are flinging this to the world, our manifesto of burning and overwhelming violence, with which we today establish 'Futurism',for we intend to free this nation from its fetid cancer of professors, archaeologists, tour guides, and antiquarians."

"Hail! great incendiary poets, you Futurist friends!.. Hail! Paolo Buzzi, Federico de Maria, Enrico Cavacchioli, Corrado Govoni, Libero Altomare! Let's flee the city of Paralysis, devastate Gout, and lay the great military Railroad along the flanks of Gorisankar, summit of the world!"

"A cry went up in the airy solitude of the high plains: 'Let's Murder the moonlight!' Some ran to nearby cascades; gigantic wheels were raised, and turbines transformed the rushing waters into magnetic pulses that rushed up wires, up high poles, up to shining, humming globes."

"In order to win over Paris and appear, in the eyes of all Europe, an absolute innovator, the most advanced of all, I urge you to get to work with all your heart, resolute on being bolder, crazier, more advanced, surprising, eccentric, incomprehensible, and grotesque than anybody else in music. I urge you to be a madman."

"Let the divine reign of Electric Light finally commence, liberating Venice from its venal moonlight of furnished rooms"

"The past is necessarily inferior to the future. That is how we wish it to be. How could we acknowledge any merit in our most dangerous enemy: the past, gloomy prevaricator, execrable tutor?"

"Art deals with profound and simple moods.. ..Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.. ..he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it."

"Try to live the war pictorially studying it in all its mechanical forms (military trains, fortifications, wounded men, ambulances, hospitals, parades, etc)."

"On 11 October 1908, having worked for six years at my international magazine Poesia, in an attempt to free the Italian lyrical genius that was under sentence of death from its traditional and commercial fetters, I suddenly felt that articles, poetry and controversies were no longer enough. It was absolutely crucial to switch methods, get out into the streets, lay siege to theaters, and introduce the fisticuffs into the artistic struggle.. .My Italian blood raced faster when my lips coined out loud the word FUTURISM. It was the new formula of Action-Art and a code of mental health. It was a youthful and innovative banner, anti-traditional, optimistic, heroic and dynamic, that had to be hoisted over the ruins of all attachment to the past."

"Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands."

"Mondrian is the greatest Futurist painter of the North."

"We love the indomitable bellicose patriotism that sets you apart; we love the national pride that guides your muscularly courageous race; we love the potent individualism that doesn't prevent you from opening your arms to individualists of every land, whether libertarians or anarchists."

"The compliments you are about to pay could only sadden me, because what you love in our dear peninsula is exactly the object of our hatreds. Indeed, you crisscross Italy only to meticulously sniff out the traces of our oppressive past, and you are happy, insanely happy, if you have the good fortune to carry home some miserable stone on which our ancestors have trodden."

"When will you disembarrass yourselves of the lymphatic ideology of that deplorable Ruskin, which I would like to cover with so much ridicule that you would never forget it? With his morbid dream of primitive and rustic life, with his nostalgia for Homeric cheeses and legendary wool-spinners, with his hatred for the machine, steam power, and electricity, that maniac of antique simplicity is like a man who, after having reached full physical maturity, still wants to sleep in his cradle and feed himself at the breast of his decrepit old nurse in order to recover his thoughtless infancy."

"And now I am obliged to tell you what it is that clearly distinguishes Futurism from anarchism."

"All this will have left you disposed to understand one of our principal Futurist efforts, which consists of abolishing in literature the apparently indissoluble fusion of the two concepts of Woman and Beauty. This ideological a fusion has reduced all romance to a sort of heroic assault that a bellicose and lyrical male launches against a tower that bristles with enemies, a story which ends when the hero, now beneath starlight, carries the divine Beauty-Woman away to new heights. Novels such as Toilers of the Sea by Victor Hugo or Salammbô by Flaubert can clarify my point. It is a matter of a dominant leitmotif, already worn out,c of which we would like to disencumber literature and art in general."

"It is therefore necessary to prepare the imminent and inevitable identification of man with the motor, facilitating and perfecting an incessant exchange of intuition, rhythm, instinct and metallic discipline, quite utterly unknown to the majority of humanity and only divined by the most lucid mind."

"We want to fight ferociously against the fanatical, unconscious and snobbish religion of the past, which is nourished by the evil influence of museums. We rebel against the supine admiration of old canvases, old statues and old objects, and against the enthusiasm for all that is worm-eaten, dirty and corroded by time; we believe that the common contempt for everything young, new and palpitating with life is unjust and criminal."

"I have said that Marinetti was.. ..exceptionally gifted, and I should add that I never saw him twiddling his thumbs even for ten minutes.. ..beside his desk he often kept piles of books in which he would write dedications.. ..invariably with the purpose of spreading the word about Futurism."

"F. T. Marinetti is perhaps the most celebrated example of the kind of writer who lives by his wits and to whom something witty rarely occurs... He has also proposed that Italians replace chic with elettrizzante [electrifying] (five syllables instead of one) and bar with qui si beve [here one drinks]-four syllables for one, and the unresolved enigma of how the plural will be formed. "Our Italian language must not be despoiled by foreignisms!" declares Filippo Tommaso with a Puritanism not unworthy of the aseptic Cejador or the forty stalls of the Spanish Royal Academy. Foreignisms! The old impresario of Futurism cannot abide such mischief."

"When Marinetti founded Futurism in 1909, he called for ‘incendiary violence’ that might drive Italy and Italians out of the ‘fetid somnolence’ of dolce far niente. He incited Futurists and their allies to the destruction of museums, monuments, and universities—to decimate everything that ‘stank of the past’… All of this was suffused with aggression and violence, with an appeal to slaps and blows, to culminate in an invocation to what he called the ‘beauty of battle,’ and the ‘hygiene of war.’"

"There can be no doubt that Marinetti feared that Futurism was going to be increasingly marginalized in Fascist Italy. He had to think about his own and his movement's survival under a fascist regime and to rescue what he could of an artistic movement which he had built up and promoted for more than a decade. [Marinetti resigned from Mussolini's Fascist Party in 1920]"

"Seeing comes before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled."

"Images were first made to conjure up the appearances of something that was absent. Gradually it became evident that an image could outlast what it represented; it then showed how something or somebody had once looked – and thus by implication how the subject had once been seen by other people. Later still the specific vision of the image-maker was also recognized as part of the record. An image became a record of how X had seen Y."

"The uniqueness of every painting was once part of the uniqueness of the place where it resided."

"According to usage and conventions which are at last being questioned but have by no means been overcome, the social presence of a woman is different in kind from that of a man. A man’s presence is dependent upon the promise of power which he embodies. If the promise is large and credible his presence is striking. If it is small or incredible, he is found to have little presence. The promised power may be moral, physical, temperamental, economic, social, sexual – but its object is always exterior to the man. A man’s presence suggests what he is capable of doing to you or for you. His presence may be fabricated, in the sense that he pretends to be capable of what he is not. But the pretence is always towards a power which he exercises on others. By contrast, a woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surroundings, taste – indeed there is nothing she can do which does not contribute to her presence. Presence for a woman is so intrinsic to her person that men tend to think of it as an almost physical emanation, a kind of heat or smell or aura."

"What do these conventions mean? What does a nude signify? It is not sufficient to answer these questions merely in terms of the art-form, for it is quite clear that the nude also relates to lived sexuality. To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguise. To be on display is to have the surface of one’s own skin, the hairs of one’s own body, turned into a disguise which, in that situation, can never be discarded. The nude is condemned to never being naked. Nudity is a form of dress."

"Publicity is usually explained and justified as a competitive medium which ultimately benefits the public (the consumer) and the most efficient manufacturers - and thus the national economy. It is closely related to certain ideas about freedom: freedom of choice for the purchaser: freedom of enterprise for the manufacturer. The great hoardings and the publicity neons of the cities of capitalism are the immediate visible sign of "The Free World." For many in Eastern Europe such images in the West sum up what they in the East lack. Publicity, it is thought, offers a free choice."

"Glamour cannot exist without personal social envy being a common and widespread emotion. The industrial society which has moved towards democracy and then stopped half way is the ideal society for generating such an emotion. The pursuit of individual happiness has been acknowledged as a universal right. Yet the existing social conditions make the individual feel powerless."

"Animals are born, are sentient and are mortal. In these things they resemble man. In their superficial anatomy — less in their deep anatomy — in their habits, in their time, in their physical capacities, they differ from man. They are both like and unlike."

"A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements in that sentence are connected by an and and not by a but."

"In the first stages of the industrial revolution, animals were used as machines. As also were children. Later, in the so-called post-industrial societies, they are treated as raw material. Animals required for food are processed like manufactured commodities. … This reduction of the animal … is part of the same process as that by which men have been reduced to isolated productive and consuming units. Indeed, during this period an approach to animals often prefigured an approach to man. The mechanical view of the animal’s work capacity was later applied to that of workers. F. W. Taylor who developed the “Taylorism” of timemotion studies and “scientific” management of industry proposed that work must be “so stupid” and so phlegmatic that he (the worker) “more nearly resembles in his mental makeup the ox than any other type.” Nearly all modern techniques of social conditioning were first established with animal experiments. As were also the methods of so-called intelligence testing. Today behaviourists like Skinner imprison the very concept of man within the limits of what they conclude from their artificial tests with animals."

"Nowhere in a zoo can a stranger encounter the look of an animal. At the most, the animal’s gaze flickers and passes on. They look sideways. They look blindly beyond. They scan mechanically. … That look between animal and man, which may have played a crucial role in the development of human society, and with which, in any case, all men had always lived until less than a century ago, has been extinguished. Looking at each animal, the unaccompanied zoo visitor is alone."

"Yet why should an artist's way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal. ... A work of art can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the word be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist's way of viewing his subject. Goya's way of looking at a massacre amounts to the contention that we ought to be able to do without massacres."

"I agree with John Berger that peasants don't write novels because they don't need them. They have a portrait of themselves from gossip, tales, music, and some celebrations. That is enough. The middle class at the beginning of the industrial revolution needed a portrait of itself because the old portrait didn't work for this new class. Their roles were different; their lives in the city were new. The novel served this function then, and it still does. It tells about the city values, the urban values. Now my people, we "peasants," have come to the city, that is to say, we live with its values. There is a confrontation between old values of the tribes and new urban values. It's confusing. There has to be a mode to do what the music did for blacks, what we used to be able to do with each other in private and in that civilization that existed underneath the white civilization."

"(What’s the last great book you read?) ...John Berger’s “Portraits” is among the greatest books on art I’ve ever read. I had a sort of spiritual experience with it."

"A song to the oak, the brave old oak, Who hath ruled in the greenwood long!"

"Now gold hath sway; we all obey And a ruthless king is he; But he never shall send our ancient friend To be tost on the stormy sea."

"Then here’s to the oak, the brave old oak, Who stands in his pride alone! And still flourish he, a hale green tree, When a hundred years are gone!"

"Ah, me! the vision has vanished— The music has died away!"

"I sing the hymn of the conquered, who fell in the battle of life,— The hymn of the wounded, the beaten, who died overwhelmed in the strife; Not the jubilant song of the victors, for whom the resounding acclaim Of nations was lifted in chorus, whose brows wore the chaplet of fame, But the hymn of the low and the humble, the weary, the broken in heart, Who strove and who failed, acting bravely a silent and desperate part."

"And all but their faith overthrown."

"They only the victory win, Who have fought the good fight, and have vanquished the demon that tempts us within; Who have held to their faith unseduced by the prize that the world holds on high; Who have dared for a high cause to suffer, resist, fight,—if need be, to die."

"But the gray and the cold are haunted By a beauty akin to pain,— By the sense of a something wanted, That will never come again."

"Oh! faint delicious spring-time violet, Thine odor, like a key, Turns noiselessly in memory's wards to let A thought of sorrow free."

"Of every noble work the silent part is best, Of all expression that which can not be expressed."

"Strive not to say the whole! The Poet, in his Art, Must intimate the whole, and say the smallest part."

"It's ten years since I heard, and Then one day a letter comes. It's neutral stuff, until I Delve into the envelope Again and find your photo, Handsome still, and not a line To tell me why you sent it."

"A poet of my kind Skates on the thinnest ice."

"My uncle [mother’s brother] wrote rather twee books of memoirs in the period between the two World Wars. They’d be deeply embarrassing to read today. In the 19th century my mother’s family were involved with the Pre-Raphaelites, and a direct ancestor of mine was Lady Byron’s lawyer, who advised her to leave the poet because of her husband’s affair with his half-sister. A much earlier ancestor on my mother’s side was chaplain to Richard Corbet, Bishop of Oxford, who wrote the poem ‘Farewell Rewards and Fairies’. In his ‘Brief Lives’ Aubrey describes them getting drunk together in the cellars of Christchurch, Oxford."

"Denn zu einem großen Manne gehört beides: Kleinigkeiten als Kleinigkeiten, und wichtige Dinge als wichtige Dinge zu behandeln."

"Perlen bedeuten Tränen."

"Besserer Rat kommt über Nacht."

"Und ein Vergnügen erwarten, ist auch ein Vergnügen."

"If no historical truth can be demonstrated, then nothing can be demonstrated by means of historical truths. That is: accidental truths of history can never become the proof of necessary truths of reason. [...] That, then, is the ugly, broad ditch which I cannot get across, however often and however earnestly I have tried to make the leap."

"The true value of a man is not determined by his possession, supposed or real, of Truth, but rather by his sincere exertion to get to the Truth. It is not possession of the Truth, but rather the pursuit of Truth by which he extends his powers and in which his ever-growing perfectibility is to be found. Possession makes one passive, indolent, and proud. If God were to hold all Truth concealed in his right hand, and in his left only the steady and diligent drive for Truth, albeit with the proviso that I would always and forever err in the process, and offer me the choice, I would with all humility take the left hand, and say: Father, I will take this one—the pure Truth is for You alone."

"I, who ne'er Went for myself a begging, go a borrowing, And that for others. Borrowing's much the same As begging; just as lending upon usury Is much the same as thieving."

"The worst of superstitions is to think One's own most bearable."

"Der Mensch, wo ist er her? Zu schlecht für einen Gott, zu gut fürs Ungefähr."

"Trust no friend without faults, and love a maiden, but no angel."

"Es ist unendlich schwer, zu wissen, wenn und wo man bleiben soll, und Tausenden für einen ist das Ziel ihres Nachdenkens die Stelle, wo sie des Nachdenkens müde geworden."

"Eben die Bahn, aus welcher das Geschlecht zu seiner Vollkommenheit gelangt, muß jeder einzelne Mensch (der früher, der später) erst durchlaufen haben."

"... Shakespeare conquered Germany with his word and thought: then England, for the first time, had a voice on the Rhine and by the Danube, and became a force in the growth of German culture. The man who was chiefly instrumental in bringing this about was Lessing. Many educated Germans felt about Shakespeare as he felt, and some of our literary men were working in the same direction in which he worked; but Lessing produced the strongest argument."

"There is a nimiety — a too-muchness — in all Germans. It is the national fault. Lessing had the best notion of blank verse. The trochaic termination of German words renders blank verse in that language almost impracticable."

"Lessing, who chafed under the sense of various limitations, makes one of his characters say: No one must do anything. A clever pious man said: If a man wills something, he must do it. A third, who was, it is true, an educated man, added: Will follows upon insight. The whole circle of knowledge, will, and necessity was thus believed to have been completed. But, as a rule, a man's knowledge, of whatever kind it may be, determines what he shall do and what he shall leave undone, and so it is that there is no more terrible sight than ignorance in action."

"Lessing was the literary Arminius who emancipated our theatre from that foreign rule. He showed us the vapidness, the ridiculousness, the tastelessness, of those apings of the French stage, which itself was but an imitation of the Greek. But not only by his critiques, but also through his own works of art, did he become the founder of modern German original literature. All the paths of the intellect, all the phases of life, did this man pursue with disinterested enthusiasm. Art, theology, antiquarianism, poetry, dramatic criticism, history, — he studied these all with the same zeal and with the same aim. In all his works breathes the same grand social idea, the same progressive humanity, the same religion of reason, whose John he was, and whose Messiah we yet await."

"One seldom finds an author who is so pleasant to have to do with as Lessing. And how comes it to be so? Because, I think, he is so sure of himself. All this trivial and comfortable intercourse between a distinguished man and one less distinguished: that the one is a genius and master, the other pupil, messenger, slave and so forth, is here excluded. Even if I strove with might and main to become Lessing’s disciple, I could not, for Lessing has prevented it. Just as he himself is free, so I imagine that he desires to make everyone else free in relation to himself. He begs to be excused the exhalations and gaucheries of the disciple, fearing to be made ridiculous through repetitioners who reproduce what is said like a prattling echo."

"Lessing opposes what I would call quantifying oneself into a qualitative decision; he contests the direct transition from historical reliability to a decision on an eternal happiness. He does not deny that what is said in the Scriptures about miracles and prophecies is just as reliable as other historical reports, in fact, is as reliable as historical reports in general can be. But now, if they are only as reliable as this why are they treated as if they were infinitely more reliable-precisely because one wants to base on them the acceptance of a doctrine that is the condition for an eternal happiness, that is, to base an eternal happiness on them. Like everyone else, Lessing is willing to believe that an Alexander who subjugated all of Asia did live once, but who, on the basis of this belief, would risk anything or great, permanent worth, the loss of which would be irreparable?"

"Lessing had a genuine French talent, and, as writer, went most assiduously to the French school. He knows well how to arrange and display his wares in his shop-window. Without this true art his thoughts, like the objects of them, would have remained rather in the dark, nor would the general loss be great. His art, however, has taught many (especially the last generation of German scholars) and has given enjoyment to a countless number. It is true his disciples had no need to learn from him, as they often did, his unpleasant tone with its mingling of petulance and candour.—Opinion is now unanimous on Lessing as “lyric poet,” and will some day be unanimous on Lessing as “dramatic poet.”"

"De cette alliance nouvelle, car jusqu'ici les décors et les costumes, d'une part, la choréographie, d'autre part, n'avaient entre eux qu'un lien factice, il est résulté, dans Parade, une sorte de sur-réalisme."

"La géométrie est aux arts plastiques ce que la grammaire est à l'art de l'écrivain."

"The poems I am writing at the moment will be much closer to your present way of thinking.I am trying to renew poetic style,but within a classical framework.On the other hand,I don't want to lapse into imitating others.Letter to Picasso 1918"

"A la fin tu es las de ce monde ancien Bergère ô tour Eiffel le troupeau des ponts bêle ce matin Tu en as assez de vivre dans l'antiquité grecque et romaine"

"Sous le pont Mirabeau coule la Seine Et nos amours Faut-il qu'il m'en souvienne La joie venait toujours après la peine Vienne la nuit sonne l'heure Les jours s'en vont je demeure"

"L'amour s'en va comme cette eau courante L'amour s'en va Comme la vie est lente Et comme l'Espérance est violente"

"Passent les jours et passent les semaines Ni temps passé Ni les amours reviennent"

"Mon beau navire ô ma mémoire Avons-nous assez navigué Dans une onde mauvaise à boire Avons-nous assez divagué De la belle aube au triste soir"

"Adieu faux amour confondu Avec la femme qui s'éloigne Avec celle que j'ai perdue L'année dernière en Allemagne Et que je ne reverrai plus Voie lactée ô sœur lumineuse Des blancs ruisseaux de Chanaan Et des corps blancs des amoureuses Nageurs morts suivrons-nous d’ahan Ton cours vers d'autres nébuleuses"

"Moi qui sais des lais pour les reines Les complaintes de mes années Des hymnes d'esclave aux murènes La romance du mal-aimé Et des chansons pour les sirènes"

"Et ma vie pour tes yeux lentement s'empoisonne"

"Et l'unique cordeau des trompettes marines"

"Un jour Un jour je m'attendais moi-même Je me disais Guillaume il est temps que tu viennes Pour que je sache enfin celui-là que je suis Moi qui connais les autres"

"Je passais au bord de la Seine Un livre ancien sous le bras Le fleuve est pareil à ma peine Il s'écoule et ne tarit pas Quand donc finira la semaine"

"J'ai cueilli ce brin de bruyère L'automne est morte souviens-t'en Nous ne nous verrons plus sur terre Odeur du temps brin de bruyère Et souviens-toi que je t'attends"

"Passons passons puisque tout passe Je me retournerai souvent Les souvenirs sont cors de chasse Dont meurt le bruit parmi le vent"

"Me voici devant tous un homme plein de sens Connaissant la vie et de la mort ce qu'un vivant peut connaître Ayant éprouvé les douleurs et les joies de l'amour Ayant su quelquefois imposer ses idées Connaissant plusieurs langages Ayant pas mal voyagé Ayant vu la guerre dans l'Artillerie et l'lnfanterie Blessé à la tête trépané sous le chloroforme Ayant perdu ses meilleurs amis dans l'effroyable lutte Je sais d'ancien et de nouveau autant qu'un homme seul pourrait des deux savoir"

"Nous voulons explorer la bonté contrée énorme où tout se tait"

"Voici que vient l'été la saison violente Et ma jeunesse est morte ainsi que le printemps Ô soleil c'est le temps de la raison ardente"

"Ô bouches l'homme est a la recherche d'un nouveau langage Auquel le grammairien d'aucune langue n'aura rien à dire"

"Now and then it's good to pause in our pursuit of happiness and just be happy."

"Come to the edge. We might fall. Come to the edge. It's too high! COME TO THE EDGE! And they came And he pushed And they flew."

"When I think of the thousands and thousands of pounds which have been spent by the National Art Collections Fund on the purchase of paintings—some of questionable merit and dubious condition—by Old Masters already represented in the National Gallery—it makes me boil with rage to think that in 1905 it would not contribute one halfpenny towards the purchase for the nation of a picture by one of the Great French Masters of the late nineteenth century. It was a short-sighted policy, but the Fund's inertia and snobbish ineptitude are entirely characteristic of the habits of art-officialdom in England."

"Hullo! What's this? What are these funny brown-and-olive landscapes doing in an impressionist exhibition? Brown! I ask you? Isn't it absurd for a man to go on using brown and call himself an impressionist painter?"

"Where, oh where was Mr. Roger Fry in 1905, and why was his voice not heard in the land? How could he allow anybody to call Cézanne an "amateur" with impunity?"

"That, by the accident of an illegality in the codicil to his will, it should have been possible for Hugh Lane's pet collection to be snaffled by the British Government, is a fitting conclusion to the shabby story of England's appreciation of French impressionist painting."

"On a souvent essayé de définir le Beau en art. Ce que c'est? Le beau, est ce qui paraît abominable aux yeux sans éducation."

"Ne jamais parler de soi aux autres et leur parler toujours d'eux-mêmes: c'est tout l'art de plaire. Chacun le sait et tout le monde l'oublie."

"Dans la langue de la bourgeoisie, la grandeur des mots est en raison directe de la petitesse des sentiments."

"Évidemment, les critiques n'ont été créés que le septième jour. S'ils avaient été créés le premier, qu'auraient-ils eu à faire?"

"Un livre n'est jamais un chef-d'œuvre, il le devient. Le génie est le talent d'un homme mort."

"Il n'y a que deux grands courants dans l'histoire de l'humanité: la bassesse qui fait les conservateurs et l'envie qui fait les révolutionnaires."

"S'il y a un Dieu, l'athéisme doit lui sembler une moindre injure que la religion."

"Une des joies d'orgueil de l'homme de lettres, — quand cet homme de lettres est un artiste, — c'est de sentir en lui la faculté de pouvoir immortaliser, à son gré, ce qu'il lui plait d'immortaliser. Dans ce peu de chose qu'il est, il a comme la conscience d'une divinité créatrice. Dieu crée des existences; l'homme d'imagination crée des vies fictives, qui laissent dans la mémoire du monde un souvenir plus profond, plus vécu pour ainsi dire."

"L'Anglais, filou comme peuple, est honnête comme individu. Il est le contraire du Français, honnête comme peuple et filou comme individu."

"Avant-garde art has become habitual, a dead letter with little spiritual consequence, however materially refined."

"Ein schwacher Feind in der Festung ist fürchterlicher als der stärkste von außen."

"To appreciate nonsense requires a serious interest in life."

"there are no roads in all Bohemia !"

"A woman and a mouse, they carry a tale wherever they go."

"I never saw a purple cow, I never hope to see one; But I can tell you, anyhow, I'd rather see than be one!"

"Ah, yes, I wrote the "Purple Cow"— I'm Sorry, now, I wrote it; But I can tell you Anyhow I'll Kill you if you Quote it!"

"I don't know much about Art, but I know what I like. (p. 24)"

"She doesn't look a day over fifty. (p. 24)"

"You'll feel differently about these things when you're married. (p. 25)"

"It isn't so much the heat... as the humidity. (p. 28)"

"You're a sight for sore eyes. (p. 29)"

"The flourishing of bursts of energy dies beyond us."

"The rigidity of forms impedes their transmission."

"The Cinema is too rich; it is obese."

"The evolution of art has nothing to do with the revolution of society."

"In my pictures I would use speech as an extra dimension supplementing the image … Speech would not come off the screen in coincidence with the sequences, but from without, as if it were a surplus unconnected with the organism - a cravat of drivel hung on an ivory tooth."

"Our only means of original manifestation is to vomit these old masterpieces. Masterful spittle is our only opportunity to create within the Cinema our masterpieces. That's what Picasso stands for. He is a creator of deglutition and spittle, of old well-digested canvases."

"From the point of view of photography, I'll smite the picture with sun rays. I'll take old stock shots and scratch them; I'll claw at them so that unknown beauty sees the light of day. I shall sculpt flowers upon the film stock."

"There are so many films from which one leaves as stupid as one entered. I'd rather give you a migraine than nothing at all … I'd rather ruin your eyes than leave you indifferent."

"Radio through television becomes a species of Cinema. Why shouldn't Cinema, in turn, become a species of radio?"

"There is no "worst" in what is new. Everything that has existed is bad, or else no one would have improved upon it by revolution and change."

"It is said that the public is stupid. That's why those who hold it in contempt never dare to offer it something original."

"Your hissing and your booing make no impression on me, because from Victor Hugo's "Ernani" to Buñel's "The Age of Gold," Cannes Grand Prize winner, everything I have loved has always been hissed and booed at first. At the premiere of "The Age of Gold" the angry audience broke the theatre seats. What worse can happen to me, and how can that affect me? The seats do not belong to me."

"I desire you, and all that comes with you. If I could only buy you and enjoy you, without having to go through all the formalities, without having to consider your personality et cetera … There is nothing as boring as human personality."

"A small but significant number of angry and historically minded women comprehend the women's revolution in the visionary sense of an end to the catastrophic brotherhood and a return to the former glory and wise equanimity of the matriarchies. We don't know how this will take place exactly, nor the resultant nature of the new social forms, we know that it will take place, and in fact that the process of its development is now irreversibly underway. Of supreme importance in this process is the recovery by modern woman of her mythology as models for theory, consciousness, and action.... The Swiss patrician Jacob Bachofen was one of the first to discover "the female era at the lower seam of history, with its sacerdotal, political, and economic female dominion." …. The fruits of this research were until recently unavailable except to a few initiates and they now form a cornerstone of the second wave in the feminist revolution...."

"Man is completely out of phase with nature. Nature is woman. Man is the intruder. The man who re-attunes himself with nature is the man who de-mans himself or eliminates himself as man."

"The Shock of the New"

"The author of the first Shock of the New is Ian Dunlop, an English writer who was once the art critic for The Evening Standard in London and is now on the staff of Sotheby's, the auction house in New York."

"In The Shock of the New Ian Dunlop quotes first-hand accounts of the irresistible laughter provoked by the exhibits. Word would get around that in this or that there was a funny picture, and, as Zola reported in his novel L'CEuvre, "people came stampeding from every other room in the exhibition and gangs of sightseers, afraid of missing something, came pushing their way in, shouting 'Where? — "Over there!" "Oh, I say! Did you ever?""

"Tchaikovsky thought of committing suicide for fear of being discovered as a homosexual, but today, if you are a composer and not homosexual, you might as well put a bullet through your head."

"Great art is an instant arrested in eternity."

"He dares to be a fool, and that is the first step in the direction of wisdom."

"Barry supported the lady, whose voice was not powerful enough for the big auditorium. I asked him how she succeeded—I was at another theatre. "Obscene but not heard," he answered."

"You can't prove Rembrandt is better than Norman Rockwell - although if you actually do prefer Rockwell, I'd say you were shunning complexity, were secretly conservative, and hadn't really looked at either painter's work. Taste is a blood sport."

"I'm looking for what the artist is trying to say and what he or she is actually saying, what the work reveals about society and the timeless conditions of being alive."

"After 1909, Monet drastically enlarged his brushstrokes, disintegrated his images, and broke through the taming constraints and delicacy of Impressionism for good. Nineteen gnarly paintings, starting in 1909 and carrying through his final seventeen years, finish off the notion that Monet went happily ever after into lily-land."

"The real us present, and it is transfigured... It is everywhere a reality at once immutable and changing. Matter is present, submitted to a luminous phantasmagoria. What Monet paints is the space that exists between himself and things."

"From now on whatever the hour represented on the canvas, a supreme accord will be wrought amongst all the parts of the subject: the water, the sky, the clouds, the foliage, reunified by the atmosphere, will form a whole of an irreproachable homogeneity, a grandiose and charming image of natural harmony."

"Travel is the only context in which some people ever look around. If we spent half the energy looking at our own neighborhoods, we'd probably learn twice as much."

"The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts."

"An Eskimo custom offers an angry person release by walking the emotion out of his or her system in a straight line across the landscape; the point at which the anger is conquered is marked with a stick, bearing witness to the strength or length of the rage."

"Conceptual Art in the broadest sense was a kind of laboratory for innovations in the rest of the century. An unconscious international energy emerged from the raw materials of friendship, art history, interdisciplinary readings and a fervor to change the world and the ways artists related to it."

"The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years."

"The era of Conceptual art - which was also the era of the Civil Rights Movement,. Vietnam, the Women's Liberation Movement, and the counter-culture- was a real."

"Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or "dematerialized.""

"I don't understand quite a good deal of what is said by Art-Language, but I admire the investigatory energies, the tireless spade-work (not calling one one), the full commitment to the reestablishment of a valid language by which to discuss art and the occasional humour in their writings. The chaos in their reasons fascinates me, but it is also irritating to be unequipped to evaluate their work. I don't know how it is or if it is evaluated by adepts in philosophy as philosophy, but I find it infuriating to have to take them on faith."

"Talking about the particles, I know I don’t have any special theory of particles. It’s just the way it came out and that’s the way I want to do it. Also, there are advantages to particles: you can’t break them; they don’t break apart. They don’t have any rigid connections; there are no rigid connections to break. The particles are always shifting around a little bit and you have to kick them back into shape. It’s like tuning a piano every once in a while. I like the idea of something being permanent by being non-rigid, being absolutely non-rigid but not having a rigid form that can be broken. But a theory of particles, I don’t know. Maybe late one night after a few drinks I explained to Lucy Lippard a theory of particles. I’m sure I didn't remember the next day."

"A Systems Esthetic will become the dominant approach to a maze of socio-technical conditions rooted only in the present."

"The computer's most profound aesthetic implication is that we are being forced to dismiss the classical view of art and reality which insists that man stand outside of reality in order to observe it, and, in art, requires the presence of the picture frame and the sculpture pedestal. The notion that art can be separated from its everyday environment is a cultural fixation [in other words, a mythic structure] as is the ideal of objectivity in science. It may be that the computer will negate the need for such an illusion by fusing both observer and observed, "inside" and "outside." It has already been observed that the everyday world is rapidly assuming identity with the condition of art."

"The tools of scholarly criticism-stylistics, iconographical analysis, historical context, and formal analysis in the last 50 years remain as trusted now as ever. Yet they explain with diminishing clarity what has happened after 1800, and almost nothing of what has happened in sculpture in the last 60 years."

"The cultural obsession with the art object is slowly disappearing and being replaced by what might be called "systems consciousness." Actually, this shifts from the direct shaping of matter to a concern for organizing quantities of energy and information. Seen another way, it is a refocusing of aesthetic awareness – based on future scientific-technological evolution – on matter-energy information exchanges and away from the invention of solid artefacts. These new systems prompt us not to look at the skin of objects, but at those meaningful relations within and between their visible boundaries."

"Unless the world is substantially altered for the worst, the logical outcome of technology's influence on art before the end of this century should be a series of art forms that manifest true intelligence, but perhaps more meaningfully, with a capacity for reciprocal relationships with human beings."

"In 1968 the American critic Jack Burnham published Beyond Modern Sculpture, the first of a series of books and articles on contemporary sculpture produced over the following five years that attempted to establish a post-formalist discourse. The culmination of this project was the exhibition Software staged at the Jewish Museum in New York in 1970 and Burnham’s theoretical treatise The Structure of Art, which was perhaps the first sustained attempt to provide a model of structuralist art criticism and theory. At the root of Burnham’s project were two inter-related concerns; the first, a quasi-determinist notion that the historical development of sculptural practice during the 20th century was the consequence of scientific and technological innovations and, second, a notion that traditional art historical terminology was inadequate to its critical analysis."

"Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts."

"In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as , Hans Haacke, Robert Morris, Sonia Sheridan, and were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer’s role as an inextricable part of the system. Jack Burnham’s 1968 Artforum essay “Systems Aesthetics” and his 1970 “Software” exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century."

"The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenthcentury author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, John Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’."

"Roy Ascott... aimed to achieve a wider 'cybernetic' awareness through acting on the psychology of the spectator, who was invited to regroup the elements of the technological universe and exploit certain of its meanings."

"As far as the sensory experience of the spectator goes, the most outstanding American kinetic artist is unquestionably the Chinese-born Wen-Ying Tsai. His pieces, which are perfect on the technological level, serve the primary purpose of giving a complete visual experience to the spectator, whose sound solicitations provoke a choreographic, chromatic and rhythmic response in the ‘cybernetic sculptures’. [...]"

"One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic (contradictory) to another aspect of the creative works of the time, i.e. spectator participation."

"Roy Ascott was among the first artists to launch an appeal for total spectator participation: for him, the strict antinomy between action and contemplation needed to be abolished."

"Frank, you are, without doubt, a scarcity. Anyone who looks at the historical record of the juncture of art and technology finds you nearly unaccompanied when it comes to documenting this historical record between the years of the late-1960's up to the early 1990s. Basically there is you, Jack Burnham's book Beyond Modern Sculpture (1968), and Gene Youngblood's reference work Expanded Cinema (1970). Specifically, your books Origins and Development of Kinetic Art (1968), Art, Action and Participation (1975) and Art of the Electronic Age (1993) are indispensable research tools in helping us figure out how art got to where it is today - in your terms virtualized."

"In the artist/theorist tradition of Robert Smithson, Joseph Nechvatal is a pioneer in the field of digital image making who challenges our perceptions of nature by altering conventional notions of space and time, gender, and self... Nechvatal successfully plunged into the depths where art, technology and theory meet."

"One of our core beliefs was that significant art could be made by anyone, anywhere and anytime. You didn’t have to live and work in New York City to be an artist. It was in line with the philosophy of Outsider art and movements for artistic "localism.""

"I’d like to think I have somehow connected or tapped to our collective subconscious, but in a sense I am just pulling ideas off the morning news. The real challenge is to make art out of these bits and pieces of our reality. I am a third-generation artist raised in the ghetto who was classically educated. This had its assets and liabilities."

"When we say expanded cinema we actually mean expanded consciousness. Expanded cinema does not mean computer films, video phosphors, atomic light, or spherical projections. Expanded cinema isn't a movie at all: like life it's a process of becoming, man's ongoing historical drive to manifest his consciousness outside of his mind, in front of his eyes. One no longer can specialize in a single discipline and hope truthfully to express a clear picture of its relationships in the environment. This is especially true in the case of the intermedia network of cinema and television, which now functions as nothing less than the nervous system of mankind."

"We live in and age of hyper-awareness, our senses extend around the globe, but it's the case of aesthetic overload: our technical zeal has outstripped our psychic capacity to cope with the influx of information."

"The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming... the mystique is gone - we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry."

"As a design-scientist the artist discovers and perfects language that corresponds more directly to experience; he develops hardware that embodies its own software as a conceptual tool for coping with reality."

"Freud spoke of oceanic consciousness as that in which we feel our individual existence lost in mystic union with the universe. Nothing could be more appropriate to contemporary experience, when for the first time man has left the boundaries of this globe. The oceanic effect of synaesthetic cinema is similar to the mystical allure of the natural elements: we stare in mindless wonder at the ocean or a lake or river. We are drawn almost hypnotically to fire, gazing as though spellbound. We see cathedrals in clouds, not thinking anything in particular but feeling somehow secure and content. It is similar to the concept of no-mindedness in Zen, which also is the state of mantra and mandala consciousness, the widest range of consciousness."

"For some years now the activity of the artist in our society has been trending more toward the function of the ecologist: one who deals with environmental relationships. Ecology is defined as the totality or pattern of relations between organisms and their environment. Thus the act of creation for the new artist is not so much the invention of new objects as the revelation of previously unrecognized relation- ships between existing phenomena, both physical and metaphysical. So we find that ecology is art in the most fundamental and pragmatic sense, expanding our apprehension of reality."

"For some time now it has been clear that intermedia art is trending toward that point at which all the phenomena of life on earth will constitute the artist’s palette. It is the purpose of this chapter to illuminate the direction of that trend and to cite a few pertinent examples. As with all other Paleocybernetic phenomena, the direction is simultaneously toward inner and outer space, the microcosm and the macrocosm. On the one hand, intermedia environments turn the participant inward upon himself, providing a matrix for psychic exploration, perceptual, censorial, and intellectual awareness; on the other hand technology has advanced to the point at which the whole earth itself becomes the “content” of aesthetic activity. The term “light show” must now be expanded virtually to include the aurora borealis, since hemispherical lumia displays are possible in the creation of artificial plasma clouds in space (see color plates), the launching of rockets to generate atmospherical events, or urban environmental generators such as Nicholas Schoffer’s monumental Cybernetic Light Tower, which transforms the skies of Paris into panoramic fantasias of color."

"Anyone who looks at the historical record of the juncture of art and technology finds you nearly unaccompanied when it comes to documenting this historical record between the years of the late-1960's up to the early 1990s. Basically there is you, Jack Burnham's book Beyond Modern Sculpture (1968), and Gene Youngblood's reference work Expanded Cinema (1970). Specifically, your (Frank Popper's) books Origins and Development of Kinetic Art (1968), Art, Action and Participation (1975) and Art of the Electronic Age (1993) are indispensable research tools in helping us figure out how art got to where it is today - in your terms virtualized."

"Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas."

"Barry was one of the first to see that mass and volume in sculpture were not dependent upon visibility... But also, and perhaps more importantly, that language was a necessary component to communicate the idea in conceptual art."

"But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness." This is part of the pity of Modernism, one of the sacrifices it enjoins..."

"György Kepes has commented enthusiastically on the ‘magic rhythms emanating from this swaying, dancing steel trembling with life’, and he has also noted the sense of ‘an instant fellowship, a spontaneous celebration’ which is re-created in their presence. As he concludes: ‘Rhythm is friendship and in Tsai’s work there is friendship of light, sound and our own heart-beats.’"

"Ever since Marshall McLuhan has become a household name, people have become aware of the tremendous force, both actual and potential ; that TV is having and will have on their lives."

"My father resigned during the Depression, so I had that responsibility at an early age. Like any other business, the Depression had hurt us a lot and we had a lot of labor unrest among the 300-400 employees. I decided that I had better take a good look at the situation, and I got in touch with a labor consultant . He suggested that since we were a relatively small business we could keep an intimate relationship with the employees, so I did that. We had 10-year and 25-year clubs, and when it came my turn to get the gold insignia, or whatever it was, for my 25 years with the company I realized, "My God, 25 years," and I decided to quit."

"I thought I would combine my artistic experience with my business experience and start a gallery in Cleveland because there really was no gallery of any stature there. I felt that Cleveland was artistically avery closed and ingrown community. The only real modern work that was shown was local work . My objective in opening a gallery in Cleveland was to bring the art from various centers in Europe and America."

"The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others . It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art."

"Howard Wise is one of the people who is responsible for the idea of an alternative television."

"Howard was very important because he went against the mainstream in his gallery."

"Howard Wise, [was] an art patron and a former dealer who gave important early support to the technology in art movement in the United States... In 1964 his Howard Wise Gallery in Manhattan presented On the Move, the first survey in the United States of contemporary kinetic art. The gallery's exhibition Lights in Orbit three years later was the first comprehensive survey in this country of kinetic light art. Mr. Wise also organized the first exhibition of the budding video art movement, TV as a Creative Medium, in 1969, and two years later he founded , a nonprofit organization that distributes artists' videotapes and provides editing and post-production facilities for independent videomakers."

"The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others . It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art."

"On May 17, 1969, a show which was to become the seminal exhibition of video art in the U.S . opened at the Howard Wise Gallery in New York City . That exhibition, "TV as a Creative Medium," effectively pointed to the diverse potential of a new art form and social tool . Subsequently, the show became renowned for the inspiration it provided for many artists and future advocates of video. The artists represented in the show, a few of whom are still involved in the medium today, came from varied backgrounds-painting, filmmaking, nuclear physics, avant-garde music and performance, kinetic and light sculpture-and their approaches presented a primer of the directions which video would soon take. Theoretically, they variously saw video as viewer participation, a spiritual and meditative experience, a mirror, an electronic palette, a kinetic sculpture, or acultural machine to be deconstructed. Ripe with ideas and armed with a heady optimism about the future of communications, these artists used video as an information tool and as a means of gaining understanding and control of television, not solely as an art form . In "TV as a Creative Medium" alternative television was presented as a stepping stone to the promised communications utopia."

"Warhol's art can both subvert (up to a point) formal art and, at the same time, offer socially provocative documents to the ordinary, white, middle-class citizen. Blacks and the poor do not like Warhol's art or movies. Documents that are mainly intended as deliberate references to a predominant white culture cannot incite the imaginations of those who don't give a fuck for that culture in the first place, even if they did understand what it was all about. This inability of Warhol to reach blacks and the poor represents the weakest aspect of his art. Warhol's art implies a certain disgust on the part of the artist for culture — a disgust he shares in common with New Left revolutionaries and progressive activist artists and critics. His latest decision, to stop painting altogether, is a deliberate step in the direction away from culture itself. It is also an inevitable step, as the very notion of art works that possess a quality as items to be traded upon the New York art exchange is incompatible with the socialisation of art. Modern culture is a repressive, police agency. The police function of modern culture has been recognized by Warhol. His paintings of electric chairs, police attacks, most-wanted men, and car crashes all seem to reflect in art the reality of an official culture of repression rather than of life."

"What is video art? How does it differ from commercial television? Is video art linked to such traditional art forms as painting and sculpture? Is it a totally new phenomenon?"

"Video art is art that will stretch the boundaries of the art world."

"(Performance) art is, perhaps, the first art phenomenon to clearly demonstrate that modern art has become antiquated. Modern art is based upon a single assumption. That the artwork is only what it is.It is not a picture or a metaphor for something else. It is, say, a photograph, first and only. Or, perhaps, it is a painting, first and only. This assumption still looms above us all. We automatically accept it. We fall back upon it whenever we have a problem in criticizing, accepting, or understanding a work of art."

"Before man was aware of art he was aware of himself. Awareness of the person is, then, the first art. In performance art the figure of the artist is the tool for the art. It is the art."

"Battcock was close friends with Andy Warhol and starred in several of the artist’s films, including "Batman Dracula," 1964 and "Horse," 1965, as well as Gregory Markopoulos' films "Galaxie," 1966 and "Iliac Passion," 1967. He became a special correspondent for Arts Magazine also in 1967. His interest in cinema led him to write articles about other Warhol films such as, “Notes on the Chelsea Girls: A Film by Andy Warhol,” 1967, and “Warhol Film,” 1968. Battcock contributed to the re-definition of what the art world categorizes as art in that many of his anthologies address "new" fields of the aesthetic exploration of media such as film and video."

"In the first reel (of '), you see a close-up of art critic Gregory Battcock as he is receiving a blow-job. Like the silent version, the person who is performing oral sex on him is out of the frame. Battcock looks somewhat bored during the proceedings. He drinks wine and some water. Towards the end of the first reel, he gets a phone call from a friend named Bob who has just returned from the trip. While they are chatting, the camera pans down to reveal the back of the head of someone who is going down on Battcock while he chats on the phone. Battcock tells the guy to come over and see him in about 33 minutes (the length of reel two). At the end of the reel, Battcock tells the guy going down on him that the caller's 'mother finally died'. The guy responds with something along the line of 'Oh, really'. During reel two, Warhol moves the camera --tilting up and down to the guy on the floor whose face is never revealed. There are also some occasional zooms in and out of Battcock's face. At one point, Battcock starts to eat an apple and begins choking. The guy on the floor tells him 'You shouldn't eat so fast.' The film ends without the sexual act being completed (at least from what I can tell..."

"In Art we know nothing for certain."

"Only those who have experienced the elation and despair which comes from the attempt to express their feelings about vision in oil paint will know that it is impossible to speak with complete impartiality about art."

"A work of art is a work of art, and nothing else, personal considerations count for nothing."

"It was inevitable that artists should turn around and question the validity of the fundamental assumption that art aimed at representation; and the moment the question was fairly posed it became clear the pseudo scientific assumption that fidelity to appearance was the measure of art had no logical foundation."

"Art is an expression and stimulus to the imaginative life rather than a copy of actual life. Art appreciates emotion in and for itself. The artist, is the most constantly observant of his surroundings and the least affected by their intrinsic aesthetic value. As he contemplates a particular field of vision the aesthetically chaotic and accidental conjunction of forms and colours begin to crystallize into a harmony."

"As I understand it, art is one of the chief organs of what, for want of a better word, I must call the spiritual life."

"There is no difference between landscapes and other subjects: in general in painting I try to express the emotions that the contemplation of the form produces in me."

"My paintings do no more than give an idea of my wanderings in search of a guiding principle in art"

"I fancy all distinctively poetical language ought to be banned and the poetry come out of the quality of the idea and the intensity or passion with which it is expressed."

"Folk-art signifies the poetical, musical and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialised."

"... "folk art" signifies the poetical, musical, and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialized. It is of the essence of this art that those who keep it in being are not only passively receptive, but normally are creative participants in the artistic activities, and yet do not stand out as individuals or claim any personal authorship of the productions. "Popular art" on the other hand is to be understood as artistic or quasi-artistic production for the demand of a half-educated public, generally urban and inclined to mass-behavior. In folk art, producers and consumers are hardly distinguished, and the boundary between them is always fluid; in the case of popular art, we find on the contrary an artistically uncreative, completely passive public, and professional production of artistic goods strictly in response to the demand for them. It is indeed a striking fact that folk art, especially folk-poetry, emerges from the ranks of those who enjoy it, whereas popular songs—the street-ballads and popular "hits"—derive from professionals belonging to and spiritually dependent upon the upper classes."

"We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and family solidarity or in the endeavour of the privileged classes to base their privileges on heredity. However that may be, the feeling that what is old must be better is still so strong that art historians and archaeologists do not shrink even from historical falsification when attempting to prove that the style of art which appeals to them most is also the oldest."

"But the most remarkable thing about prehistoric naturalism is not that it is older than the geometric style, which makes so much more of a primitive impression, but that it already reveals all the typical phases of development through which art has passed in modern times and is not in any sense the merely instinctive, static, a-historical phenomenon which scholars obsessed with geometric and rigorously formal art declare it to be. This is an art which advances from a linear faithfulness to nature, in which individual forms are still shaped somewhat rigidly and laboriously, to a more nimble and sparkling, almost impressionistic technique."

"The partial absorption of art by domestic industry and by domestic female crafts, that is to say, the fusion of artistic activity with other activities, is a retrogression from the standpoint of the division of labour and professional differentiation."

"The end of the Neolithic age betokens almost as universal a re-orientation of life, almost as profound a revolution of economy and society, as its beginning. Then the break was marked by the transition from mere consumption to production, from primitive individualism to co-operation, now it is marked by the beginning of independent trade and handicrafts, the rise of cities and markets, and the agglomeration and differentiation of the population."

"If the resistances in one direction are impossible to overcome, then the artist’s invention and powers of expression turn to a goal the way to which is not obstructed, and it is very unusual for him even to be aware of the fact that his achievement is a substitute for the real thing. Even in the most liberal democracy the artist does not move with perfect freedom and unrestraint; even there he is restricted by innumerable considerations foreign to his art. The different measure of freedom may be of the greatest importance for him personally but in principle there is no difference between the dictates of a despot and the conventions of even the most liberal social order. If force in itself were contrary to the spirit of art, perfect works of art could arise only in a state of complete anarchy. But in reality the presuppositions on which the aesthetic quality of a work depends lie beyond the alternative presented by political freedom and compulsion."

"The stereotyped style of cultic representations was well known as early as the Neolithic age, but the stiffly ceremonial forms of courtly art are absolutely new and come into prominence here for the first time in the history of human culture. They reflect the rule of a higher, superindividual social order, of a world which owes its greatness and splendour to the favour of the king. They are anti-individualistic, static and conventional... All the good things and the charms of life are connected, for the privileged members of this society, with their separation from the other classes, and all the maxims which they follow assume more or less the character of rules of decorum and etiquette. This decorum and etiquette, the whole self-stylization of the upper class, demand among other things that one does not allow oneself to be portrayed as one really is, but according to how one must appear to conform with certain hallowed conventions, remote from reality and the present time. Etiquette is the highest law not merely for the ordinary mortal, but also for the king, and in the imagination of this society even the gods accept the forms of courtly ceremonial."

"The traditional picture of the blind old singer of Chios is largely made up of memories that go back to the time when a poet was a vates— a priestly and God-inspired seer. His blindness is merely the outward sign of the inward light that fills his being and enables him to see things others cannot see. This bodily infirmity expresses— as does the lameness of the divine smith Hephaestus—a second idea that was current in primitive times, that a maker of poems, ornaments and other products of handicraft can only come from the ranks of those who are unfit for war and foray. But apart from this feature, the legendary ‘Homer’ is an almost perfect example of the mythical poet who was still half-divine, a wonder-worker and a prophet. We find the clearest embodiment of this idea in Orpheus, the primeval singer who had his harp from Apollo and instruction in the art of song from the Muse herself; with his music he could move not merely men and beasts but even rocks and could reclaim Eurydice from the bonds of death."

"In spite of the growing differences of income, the ever-increasing concentration of capital and the steady increase of the proletariat, in a word, in spite of the growing opposition between classes, there is everywhere a certain social levelling that, at last, puts a definite end to the privileges of birth. This is the last stage of the trend towards the abolition of social distinctions which had been going on since the days of hereditary monarchy and authoritarian priesthood. The decisive step was due to the Sophists, who invented the completely new rationalistic conception of areté,independent of birth and breeding, to which every Greek without exception could attain. The next step in this levelling is taken by the Stoics, who first enunciated standards of human value that are free from all tinge of race and nationality. The Stoics’ freedom from national prejudice merely expressed a state of affairs already achieved in the kingdoms of Alexander’s successors, just as the liberalism of the Sophists is merely a reflection of the social conditions due to the rise of the commercial and industrial bourgeoisie of the cities."

"Such specialization and depersonalization of enquiry led inevitably to a taste for mere erudition and a temptation to eclecticism."

"At last the bourgeois has a theatre of his own in which he really feels at home. In every little town there is a modest building, and in the big cities those new palaces of stone or marble whose remains still survive."

"The art of representing the human figure in the ancient world begins and ends with ‘frontality’."

"The unity of the Middle Ages as a historical period is quite artificial. In reality they fall into three entirely distinct cultural periods—the natural economy of the early Middle Ages; the courtly chivalry of the high Middle Ages; and the urban bourgeois culture of the late Middle Ages. At any rate, the divisions between these three epochs go deeper than those which mark the beginning and the end of the Middle Ages as a whole."

"The ‘spirituality’ of this art, in which scholars have tried to find all the essentials of the later medieval conceptions of art, is in reality only the same indefinite sort of spirituality which inspired the last centuries of paganism."

"Early Christian art during the first two or three centuries of its existence was merely a development or even a variant of late Roman art. So great is the similarity between late pagan and early Christian work that the decisive change of style must have occurred between the classical and post-classical, not between the pagan and Christian eras."

"There can be no question that such a gap existed in early Christian art. What has been praised in it as deliberate simplification, masterly concentration or conscious idealizing and intensifying of the actual is in reality often just incapacity and poverty, just a helpless inability to render natural forms correctly, and a primitive bungling of the drawing.This clumsiness and ungainliness of early Christian art is not mastered until after the Edict of Toleration, when it became the official art of state and court, of aristocratic and educated circles."

"The new Christian ideal of life did not at first alter the outward forms of art, but did alter its social function."

"It would never have been possible for Byzantine court art to become the Christian art par excellence, if the Church itself had not become an absolute authority and had not felt itself to be mistress of the world. In other words, the Byzantine style was only able to gain a footing everywhere where there was a Christian art, because the Catholic Church in the West desired to become the power the Emperor was already in Byzantium."

"The late Middle Ages not merely has a successful middle class—it is in fact a middle-class period."

"The structure of the nobility is changed along with that of the state, but it preserves its continuity with the past intact. Knighthood, on the other hand, as the exclusive warrior-class and upholder of secular culture, decays completely. The process is protracted and the ideals of chivalry do not lose their alluring splendour from one day to the next—least of all in the eyes of the middle classes. But behind the scenes everything is set for the fall of Don Quixote.—The decline of the knighthood has been connected with the new methods of warfare introduced in the late Middle Ages, and it has been pointed out that the heavily accoutred cavalry suffered a severe reverse whenever they met the infantry of the new mercenary armies or the foot of the peasant brigades."

"The Renaissance discovery of nature was an invention of nineteenth-century liberalism which played off the Renaissance delight in nature against the Middle Ages, in order to strike a blow at the romantic philosophy of history. For when Burckhardt says that the ‘discovery of the world and of man’was an achievement of the Renaissance, this thesis is, at the same time, an attack on romantic reaction and an attempt to ward off the propaganda designed to spread the romantic view of medieval culture. The doctrine of the spontaneous naturalism of the Renaissance comes from the same source as the theory that the fight against the spirit of authority and hierarchy, the ideal of freedom of thought and freedom of conscience, the emancipation of the individual and the principle of democracy, are achievements of the fifteenth century. In all this the light of the modern age is contrasted with the darkness of the Middle Ages."

"Mannerism came so late into the foreground of research on the history of art, that the depreciatory verdict implied in its very name is often still taken to be adequate, and the unprejudiced conception of this style as a purely historical category has be."

"As an artistic style, mannerism conformed to a divided outlook on life which was, nevertheless, spread uniformly all over Western Europe; the baroque is the expression of an intrinsically more homogeneous worldview, but one which assumes a variety of shapes in the different European countries. Mannerism, like Gothic, was a universal European phenomenon, even if it was restricted to much narrower circles than the Christian art of the Middle Ages; the baroque, on the other hand, embraces so many ramifications of artistic endeavour, appears in so many different forms in the individual countries and spheres of cultures, that it seems doubtful at first sight whether it is possible to reduce them all to a common denominator."

"The historical importance of the Carracci is extraordinary; the history of the whole of modern ‘church art’ begins with them."

"Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great romantic movement starts here about the middle of the century, but the enlightenment also receives its decisive impulse from this country. The French writers of the period see in English institutions the quintessence of progress and build up a legend around English liberalism—a legend which only partly corresponds to reality. The displacement of France as the upholder of culture by England proceeds hand in hand with the decadence of the French royal house as the leading European power and, hence, the eighteenth century sees the ascent of England both in politics and in the arts and sciences."

"There is, as Tocqueville remarks, almost no political question which is not connected in some way with the imposition or the granting of taxes. At any rate, problems of taxation dominated public life in England from the end of the Middle Ages and became in the seventeenth century the immediate cause of the revolutionary movements."

"Rousseau’s ideas were in the air; he only expressed what many of his contemporaries knew, namely that they were faced with a choice and had to decide either for Voltairianism, with its reasonableness and respectability, or for the surrender of historical traditions and a completely new beginning. There is no personal relationship in the whole history of European culture with more profound symbolic significance than that between Voltaire and Rousseau."

"The mania for self-observation and self-admiration in literature and the view that a work is the more true and the more convincing, the more directly the author reveals himself in it, are part of the intellectual inheritance of Rousseau. In the next hundred to hundred and fifty years everything of importance in European literature is stamped with this subjectivism. Not only Werther, René, Obermann, Adolphe, Jacopo Ortis, are among the successors of Saint-Preux, but also the heroes in later novels— from Balzac’s Lucien de Rubempré, Stendhal’s Julien Sorel, Flaubert’s Frédéric Moreau and Emma Bovary to Tolstoy’s Pierre, Proust’s Marcel and Thomas Mann’s Hans Castorp—are derived from it. They all suffer from the discrepancy between dream and reality and are the victim of the conflict between their illusions and practical, commonplace, middle-class life."

"The fundamental difference between composing for a nobleman or a personal patron in general and working for the anonymous concert public is that the commissioned work is usually intended for a single performance, whereas the concert piece is written for as many repeats as possible. That explains not only the greater degree of care with which such a work is often composed but also the more exacting way in which the composer presents it. Now that it is possible to create works which would not be consigned to oblivion so quickly as commissioned works, he 76 sets out to create ‘immortal’ works. Haydn already composes much more cautiously and slowly than his predecessors. But even he writes over a hundred symphonies; Mozart writes only half as many and Beethoven only nine."

"The eighteenth century is full of contradictions. It is not only that its philosophical attitude wavers between rationalism and anti-rationalism, but its artistic aims are also dominated by two 122 opposite tendencies and at some times approach a strictly classicistic, at others a more unrestrained pictorial conception. And like the rationalism of the period, its classicism is also difficult to define and open to various sociological interpretations, since it is sustained alternately by courtly-aristocratic and middle-class strata of society and ends by developing into the representative artistic style of the revolutionary bourgeoisie."

"The extraordinary significance that music holds for Delacroix, and which contributes most to his admiration for Chopin, is a symptom of the new hierarchy of the arts and the prominent position which music occupies in it. It is the romantic art par excellence and Chopin the most romantic of all the romantics. In his relation to Chopin, Delacroix’s intimate connection with romanticism is brought most clearly to light."

"We read the works of the older literature differently from those of our own age; we enjoy them purely aesthetically, that is, indirectly, disinterestedly, perfectly aware of their fictitiousness and of our self-deception."

"The contrast between Tolstoy’s discretion and Dostoevsky’s exhibitionism, between the restraint of the one and the ‘dancing about naked in public’ of the other—as someone says in The Possessed—is attributable to the same social gap as separated Voltaire from Rousseau."

"Although Titian's works seem to many to have been created without much effort, this is far from the truth and those who think so are deceiving themselves. In fact, it is clear that Titian retouched his pictures, going over them with his colours several times, so that he must obviously have taken great pains. The method he used is judicious, beautiful, and astonishing, for it makes pictures appear alive and painted with great art, but it conceals the labour that has gone into them."

"Titian, having adorned Venice, or rather all Italy and other parts of the world, with excellent paintings, well merits to be loved and respected by artists, and is in many things to be admired and imitated also, as one who has produced, and is producing, works of infinite merit; nay, such as must endure while the memory of illustrious men shall remain."

"I think that anyone who will take the trouble to consider the matter carefully will arrive at the same conclusion as I have, that art owes its origin to Nature herself, that this beautiful creation the world supplied the first model, while the original teacher was that divine intelligence which has not only made us superior to the other animals, but like God Himself, if I may venture to say it."

"In our time it has been seen, as I hope to show quite shortly, that simple children, roughly brought up in the wilderness, have begun to draw by themselves, impelled by their own natural genius, instructed solely by the example of these beautiful paintings and sculptures of Nature. Much more then it is probable that the first men, being less removed from their divine origin, were more perfect, possessing a brighter intelligence, and that with Nature as a guide, a pure intellect for master, and the lovely world as a model, they originated these noble arts, and by gradually improving them brought them at length, from small beginnings, to perfection. I do not deny that there must have been an originator, since I know quite well that there must have been a beginning at some time, due to some individual."

"It is true that , who afterwards did the ornamentation of the other organ opposite this one, displayed much more judgment and skill than Luca, as will be said in the proper place, because he did almost the whole of the work in the rough as it were, not delicately finishing it, so that it should appear much better at a distance than Luca's; as it does, for with all his care and skill the eye cannot appreciate it well because of the very polish and finish, which are lost in the distance, as it can the almost purely rough hewn work of Donato. To this matter artists should devote much attention, because experience shows that all things seen at a distance, whether they be paintings or sculptures or any other like thing, are bolder and more vigorous in appearance if skilfully hewn in the rough than if they are carefully finished. Besides the effect obtained by distance, it often happens that these rough sketches, which are born in an instant in the heat of inspiration, express the idea of their author in a few strokes, while on the other hand too much effort and diligence sometimes sap the vitality and powers of those who never know when to leave off."

"Men of genius sometimes accomplish most when they work the least, for they are thinking out inventions and forming in their minds the perfect idea that they subsequently express with their hands,"

"When the early morning sun"

"From his hole so wet and drenching"

"For the poet Aaro Hellaakoski there was 'negative fire' in the steely blue skies of winter."

"Our poor friend Sisley, alas! will not assist at the final triumph, which is near, and of which he has seen but the dawning: he is gone too soon, and just at the moment when, in reparation for long injustice, full homage is about to be rendered those strong and charming qualities which make him a painter exquisite and original among them all, a magician of light, a poet of the heavens, of the waters, of the trees — in a word, one of the most remarkable landscapists of this day."

"Non c'è niente nella sua pittura che la Sicilia non possa spiegare."

"The mafia itself does not bring anything to mind. Like the homeland, the dead of Solferino. Ancient things. [...] Sciascia was a civil writer, a schoolteacher who wanted to teach us good social manners. But revisiting him today is like rereading Silvio Pellico. His function has been exhausted. We no longer need Sciascia. We need a new reflection, another Sicilian consciousness."

"My thought is that if some art is imitation and some art is not, neither term belongs to the definition of art as philosophically understood. A property is part of the definition only if it belongs to every work of art there is."

"It is true that art today is pluralistic. Pluralism was noticed by certain followers of Ludwig Wittgenstein. What makes art so powerful a force as it appears to be in song and story is due to what makes it art to begin with. There is really nothing like it when it comes to stirring the spirit."

"There were limits to what art—composed of such genres as portraiture, landscape, still life, and historical painting (the latter of which, in royal academies, enjoyed the highest esteem)—could do to show movement."

"Thanks to Descartes and Plato, I will define art as “wakeful dreams.” One wants to explain the universality of art. My sense is that everyone, everywhere, dreams. Usually this requires that we sleep. But wakeful dreams require of us that we be awake. Dreams are made up of appearances, but they have to be appearances of things in their world. True, the different arts in the encyclopedic museum are made by different cultures."

"Any movement can be a dance movement and hence achieve the dreamlike. The same may be true of acting, as when, for example, an actress serves cocktails that are actually glasses filled with just water. To taste the tasteless is a kind of bad dream. It is not possible to catalog all the different ways artists have found to dream-ify. I’ll take a flier at Michelangelo’s masterpiece, the great decoration of the Sistine Chapel’s vault, with the scenes of a narrative in which, when I first saw it, figures move in and out of an enveloping dark."

"As a philosopher, I would cherish an argument which demonstrates that the mind cannot be mapped onto the brain any better than the Sistine ceiling can be mapped onto the brushstrokes—and that Eliminativists are as misled as Colalucci. It would be great if the analogy itself were accepted, even if we did not know where to go from there."

"The body that feels thirst and hunger, passion, desire, and love. The body that we understand when we read the ancients describing men in battle, men and women in love and in grief. The body, I would say, that our artistic tradition dealt with so gloriously for so many centuries, and somewhat less gloriously in a certain kind of performance art today."

"It struck me only recently that nineteenth century painters must have believed that visual truth was defined by photography, however alien to human vision what the camera reproduced often was. A good example of this would have been Eadweard Muybridge’s photographs of horses in motion. Painters decided that Muybridge’s images showed what horses really look like when they run, and in effect copied Muybridge’s photographs in their paintings of horses, even though that is not at all the way we see horses when they run. We really don’t see animals move the way Muybridge shows them moving, or else there would have been no need for the photographs in the first place: Muybridge hit upon his awkward but seemingly authoritative experiments that were really designed to answer such questions as whether all four of a horse’s hooves ever touch the ground at the same time—in other words, phenomena the human eye could not perceive."

"The great thing about the sixties was the dawning recognition that anything could be a work of art, which was something evident in all the main movements of the time—in Pop art, Minimalism, Fluxus, Conceptual art, and so on. What accounted for the difference? The big mantra in the art world was Frank Stella’s sullen “What you see is what you see.” But there was not a lot of difference between what you see when you see a Brillo Box by Warhol and the Brillo boxes designed by James Harvey for the Brillo people to use for moving their products about. So: why weren’t they artworks if Andy’s Factory-produced boxes were? I have answered this in my first chapter, so what I want to do now instead is to marvel at the way in which the camera helped give form to the philosophical question that had been kicking around for a few millennia, “What is art?,” and to explain why the photography-painting paragone had to be the last paragone. By the time Duchamp and Warhol had left the scene, everything in the concept of art had been changed. We had entered the second phase in the history of art, broadly considered."

"What impresses me is that Kant’s highly compressed discussion of spirit is capable of addressing the logic of artworks invariantly as to time, place, and culture, and of explaining why Formalism is so impoverished a philosophy of art. The irony is that Kant’s Critique of Judgment is so often cited as the foundational text for Formalistic analysis. What Modernist Formalism did achieve, on the other hand—and Greenberg recognizes this—was the enfranchisement of a great deal of art that the Victorians, say, would have found “primitive,” meaning that the artists who made it would have carved or painted like nineteenth century Europeans if they only knew how. African sculpture came to be appreciated for its “expressive form” by Roger Fry, and by the severe Bloomsbury Formalist Clive Bell in his book Art. That meant that it was ornamentalized, in effect, like the tattoo, according to Kant. I often wonder if those who celebrated Kant aesthetics read as far as section forty-nine of his book, where he introduces his exceedingly condensed view of what makes art humanly important."

"My sense, in bringing to art the double criteria of meaning and embodiment, is to bring to art a connection with cognizance: to what is possible and, to the faithful, to the actual. Gregory the Great spoke of the carved capitals in the Romanesque basilica as the Bible of the Illiterate: they show what the Bible tells us took place. They tell the uneducated what they are supposed to know. That is, they tell them what they are to believe as true. Beauty has nothing to do with it, though the capable carver presents the Queen of Sheba as the great beauty she was. It is possible that she looked that way. But it can be art without being beautiful at all. Beauty was an eighteenth century value."

"These saints (of Fathi Hassan) look at nothing, as if facing the ideality of a timeless space and therefore without the sound of worldly looks. They condense, within their peoples, the condition of absolute suffering of a culture, the African, profound and highly symbolic, open to the fluidity of a sentiment suited to the absolute and not to the precariousness of everyday life."

"His black saints (of Fathi Hassan), facing a timeless space and without noise, fix nothing, expressing the absolute suffering of African culture, deep and highly symbolic and solemn elephants adorned with red are exposed to the eyes of the world (Giovanni Carandente)"

"Si direbbe che Kodra tra le sfaccettature del tardo cubismo del primo dopoguerra, abbbia rintracciato le scaglie luminose dei vecchi mosaici bizzantini. I bagliori delle antiche moschee e le favolosità dei pastori bivaccano su le pendici dell'Olimpo."

"In quello che è il codice di figurazione del pittore Kodra, persone, cose, interi paesaggi sono schematizzati in squadrate forme geometriche. Attraverso simile processo geometrizzante l'artista, intende chiaramente dare rappresentazione del condizionamento entro il quale è costretto a muoversi, a vivere, l'uomo contemporaneo. La figura umana assume, così rappresentata, un'aspetto robotico, divenendo personificazione delluomo postindustriale, il robot cibernetico e informatico, l'uomo numero."

"Es geht eine wilde Pein durch diese Zeit und der Schmerz ist nicht mehr erträglich. Der Schrei nach dem Heiland ist gemein und Gekreuzigte sind überall. Ist es das große Sterben, das über die Welt gekommen?"

"Die Moderne ist nur in unserem Wunsche und sie ist draußen überall, außer uns. Sie ist nicht in unserem Geiste. Sondern das ist die Qual und die Krankheit des Jahrhunderts, die fieberische und schnaubende, daß das Leben dem Geiste entronnen ist. Das Leben hat sich gewandelt, bis in den letzten Grund, und wandelt sich immer noch aufs neue, alle Tage, rastlos und unstät. Aber der Geist blieb alt und starr und regte sich nicht und bewegte sich nicht und nun leidet er hilflos, weil er einsam ist und verlassen vom Leben."

"The problem is, some of us have either convinced ourselves that we are not creative, or are yet to find our way. Confidence in our own creativity can wane. Which is bad. Confidence is crucial. In my experience artists, like a lot of us, fear being “found out.” But somehow they manage to summon up enough self-belief to overcome the self-doubt, which enables them to back their creativity. The Beatles were just a bunch of young lads with time on their hands who found the confidence to persuade themselves and then the world that they were musicians."

"In reality, artists are no more courageous or noble or single-minded than the farmers who go to extreme lengths, in extreme weather, to protect their herd. Or a restaurateur who—having waved goodbye to her last customer at midnight—hauls herself out of bed at 4 A.M. the following morning to make sure she’s at the market in time to buy the best produce. Or, for that matter, a master bricklayer who has calloused fingers and an aching back from days spent building a house."

"Artists are entrepreneurs. They are willing to stake everything for the chance to go it alone and make the work they feel compelled to create. They will beg and borrow to pay the rent on their studio, to buy the necessary materials, and to feed themselves during the long months of endeavor."

"If at first you don’t succeed, don’t try exactly the same thing again. You won’t succeed, again. Instead, have a think, evaluate, correct, modify and then try again. Creativity is an iterative process."

"To give up before we even start, using low self-esteem or lack of qualifications as an excuse, is, frankly, gutless. As human beings we are all born with not only the wherewithal to be creative, but also the need."

"A far more important lesson to learn from artists is not that they fail, but that they prevail. Artists make. Artists do."

"If necessity is the mother of invention, curiosity is the father. After all, you cannot produce something interesting if you are not interested in something. Outputs need inputs."

"That’s how ideas are generated. Unusual combinations, mixing old and new, stimulate original ideas, that is, ideas with origins."

"Creativity is a constant process of call and response taking place inside our heads. If all is going well, the question–answer routine is like the two sides of our brain working together as if in an inner-cranial pas de deux."

"Decision-making is the tortuous by-product of the Socratic method. Because at some point skepticism and questioning have to give way to personal judgment in the shape of a decision made. And that is the most daunting part of a forbidding process. As Socrates knew only too well, the more you question the more you realize that there are no concrete answers. Doubt reigns supreme, an inescapable truth he succinctly expressed when he said, “All I know is that I know nothing.”"

"Creativity, like society, thrives when the individual elements fit within, and add to, a bigger picture."

"She pointed up to a shelf of plates stacked vertically in a rack above the sink. “Choose one,” she said. I must have looked nonplussed. “Choose a plate,” she repeated. And then explained that she collects plates, but only ever one of any type. It was up to the guest to decide which one would be theirs for the duration of the stay. “We’re not robots,” she said. “Life is more exciting when you have an opinion.”"

"It is, after all, our imagination that makes us human. Vincent van Gogh asked, “What would life be if we had no courage to attempt anything?” To which the answer is, I would have thought, boring, bordering on pointless."

"Duchamp is a worthy role model. Added to which he believed passionately that anyone could be an artist and spent his life showing the rest of us how it is done. He chose fine art as the vehicle for his imagination, but his approach could equally well be applied to any area of creative endeavor. His trick was to spend more time thinking than doing. He would pause for thought and ponder on life and creativity and how things might be. Which is what I’m going to do now."

"Would it be any better if all schools were art schools? I think so. But whatever your view, there are few more exciting areas than education in our digital age. I know tech and media and neuroscience are sexier, but for sheer untapped potential that is waiting to be realized by a new generation of thinkers and doers, I doubt there’s anything to beat education as a place to work right now. So much is about to change, including, I would have thought, our relationship with academia. A combination of an intellectually ambitious aging population, an emerging creative economy, and a digitized world will lead to many of us renewing or expanding our ties with education. The notion that formal learning stops when we are barely adults will seem very odd in future. As will the idea that someone has one single career for life. If you’re going to be working until you’re eighty, the chances are you’ll want to explore several fields and not plow the same furrow decade after decade."

"The future depends on us taking a different approach. One in which we can all express ourselves and contribute to society by using our unique imagination and talent. It’s our brains not our brawn that makes us special and life worth living. Artists had that worked out a long time ago."

"This cosmic character of Salvatore Garau's figurative world, this emotionalized universalism links his aesthetics with the tradition of romanticism, especially of romantic landscape painting, in which imposing natural phenomena are interpreted as a metaphor for the cosmos and the metaphysical hierarchy of existence."

"Salvatore Garau, triumph of immediacy, aesthetic enjoyment, power of color, free spontaneity, a call to something gigantic, powerful, improbable, to something absent but substantial; this is what manifests itself in the new, small, enigmatic sheets that Salvatore Garau dedicated to Richard Wagner. The movement of the stripes of color - pulsating, restless, unpredictable, paths of unstoppable energies and tensions - suggest wind and flames, bodies that contort and interpenetrate, full of power and sensual force [...] seductive and disturbing are not however dedicated only to Richard Wagner [...] features that are not secondary to understand his poetics, in which an obsessive monochromatism, made up of shades of red, seems to evoke the spirit of the mythical struggles of the heroes of Wagner."

"In the works of Salvatore Garau, spaces of structures that shake with movements reminiscent of strong winds, earthquakes, or architectural formations, and that, in maintaining clarity and geometric objectivity, relate to the play of emotions in a frenzy that can be disturbing, unconscious, and irrational."

"Thomas McEvilley has explained the likely Indian origins of some aspects of Greek thought. For instance, he says the Western intellectuals' cover-up of the likely Indian origins of Plotinus protects Western identity and historicity: 'Translations of his work may have a churchy kind of ring. The view of Plotinus as a kind of proto-Christian theologian may express, at least in part, a dread of finding possible Indian origins for the texts whose influence was to contribute to shaping the thought of Thomas Aquinas, Nicolas of Cusa, Meister Eckhart, and many later Western thinkers. So it is not only that "to admit oriental influences on [Plotinus] was tantamount to besmirching his good name," but even more, it would also besmirch that whole aspect of the Western tradition that flowed from him. If Plotinus had passed massive Asian influence into the Western tradition, there would be little point to calling it Western tradition' ."

"Romila Thapar, an Indian historian... is reviled by some Indian scholars for her acquiescence to many western points of view."

"Still, it would be an equally egregious mistake to conclude that India lacks a distinctive and world-important character of its own. Nothing, it seems, comes out of nothing, and no culture is born by parthenogenesis. Ancient Greek culture has had at least as much input from the same sources without being denied its own “miraculous” selfhood."

"“Still, modern western attitudes towards Plotinus have not been shaped by the widespread acknowledgment of the extraordinary similarity of his teachings to doctrines taught in India in his day; but by the role he unwittingly played after his death as a formative influence on Christian theology. Translations of his work may have a churchy kind of ring. The view of Plotinus as a kind of proto-Christian may express, at least in part, a dread of finding possible Indian origins for the texts whose influence was to contribute to shaping the thought of Thomas Aquinas, Nicholas of Cusa, Meister Eckhardt, and many later western thinkers. So it is not only that “to admit 'oriental influences' on [Plotinus] was tantamount to besmirching his good name,” but even more it would also besmirch that whole aspect of the western tradition that flowed from him. If Plotinus had passed massive Asian influence into the western tradition, there would be little point to calling it western anymore.”"

"Von Soden observes that “since the discovery of the Indus civilization … it has been almost universally accepted that the Sumerians immigrated from the east.” The immigrants are regarded as having arrived in lower Mesopotamia either at the beginning of the Ubaid period (c. 5000 B.C.) or at the beginning of the Uruk period (perhaps c. 3500 B.C., but perhaps as late as 3250). In either case, the Sumerians seem to have fitted easily into an advanced Chalcolithic culture where writing was already in the early stages of development. Therefore, the implication is that they must have been from another advanced culture, and that points to the East. Bottero agrees that “the Sumerians must have arrived in Mesopotamia during the fourth millennium, apparently from the southeast.” Von Soden further observes that “this immigration could have succeeded entirely by land if the Sumerians immigrated from somewhere in northern India,” and refers suggestively to “the westward migration of the Sumerian groups, whose language may have been related to the Dravidian languages of India.”"

"This book of 700 close-printed pages is remarkable for its range of erudition covering the ancient religiophilosophical thought and some aspects of the art of the diverse cultures from Greece through the Near East to Persia and India. It is the fruit of some 30 years of research. But is is also remarkable for many misrepresentations, some egregious errors of fact and, consequently, injudicious conclusions.... McEvilley himself, as has been demonstrated in the preceding pages, shows repeated willfulness in (mis-)representing and (mis-)handling of the evidence. Nonetheless, this erudite book is worth consulting provided the reader can spot the author’s facile assumptions, careless remarks, sweeping generalizations and unwarranted judgments."

"This is a stimulating book. But... it suffers from assuming the late but generally accepted in Western academic circles dating of the Ṛgveda, as well as McEvilley’s lack of a specialist’s knowledge of the Ṛgveda and early Indian thought. ...In general, McEvilley sees undue Ancient Mesopotamian and to a lesser extent Ancient Egyptian influence behind the development of Indus Valley civilization and in the specifics of Vedic and later Indian literature, which tendency is so exaggerated that it comes across as an unpleasant prejudice."

"There are two kinds of painters, the great ones, the real ones, they are plastic poets, they possess the imagination, that queen of faculties. For them, nature is only a quarry from which their genius extracts the matter of the temple that their hands create. Those create worlds of their own, they make us live there, they find the path of our soul, they finally dominate us. The others are mere observers incapable of discovering, linking and grouping the various elements to form a whole."

"The works create new poetry, which involuntarily rivals with habitual esthetic stereotypes. For instance, we accept as a common notion to worship joyously the classic beauty of Saint Petersburg, its harmony and stately grandeur. This exposition does have variations of that sort. But observe “Night Nevsky” by Parygin. Rough to the touch texture, dark abyss. In the darkness urgent lights explode. They bring forth immediate spiritual angst. One does not regard the regal magnificence of the urban landscape-it is neither cast aside, nor left behind the curtains, as dramatism of modern perception takes over. One regards not a city museum for curious crowds, but one beholds the habitat of our days where we seek, love, fight, suffer. That art defines perception."

"Project "City" by Alexey Parygin and Timofey Markov is sure an example of livre d'artiste with all its classical characteristics from the form (portfolio with impressions) to the choice of participants who mostly see this work as a kind of experiment, just an episode in their artistic work. Inviting new authors to play with the idea of a book is a very positive decision that provides a lot of new ideas. The chosen subject — “urban theme” — connects the project with its prototype, because the city was one of the most popular and actual subjects for collections of printings. Some format restrictions are traditional for such a project: Their size of paper is defined. And the sheet doubled up. Actually, each participant of the project is invited to decorate a page-spread. The difference is in the absence of any literary text. Furthermore, the subject is given abstractedly: Just a city, without any personifications, details, geographical coordinates. It forms a huge field for reflection and gives every artist the maximal freedom to narrate about his personal connections to the city. Thirty-five voices, views, private stories about the city, thirty-five visions and arts to be in and with it. The visual part is completed with the words the artists tell about the city. These sentences are not always connected directly to the printed impressions but they give more volume and depth to them anyway."

"The artist’s book is a territory of an experiment. "City" demonstrates a diversity of methods and a huge spectrum of artistic languages that create the unique atmosphere of this publication. All the common print techniques are used here: etching, lithography, linocut, silkscreen, plywood print and stencil. At the same time every work of art shows the individuality of its creator. Almost all of them were completely made by the authors themselves. In some cases, the help of professional typographers was needed. All the compositions and details were discussed with the art-moderator. That is why it is possible to talk about the synthesis of livre d’artiste and artist’s book."

"Another important direction in contemporary Russian artists’ books, with many precedents set by the Futurists, is the fusion of poetic and artistic talent of artist-authors blessed with Doppelbegabung. The intimate relationships between text and image is enhanced when author and artist are one and the same person and engage in an inter-art discourse that leads to creations that are truly unified works of art. An artist who achieved equal mastery in more than one medium and made different arts merge in his personality was no doubt Alexey Parygin. His poetic collections <...> represent an attempt to synthesize text and plastic figurative form in books where literary and visual languages are calculated to have a simultaneous effect on the reader/viewer. The work of Alexey Parygin have common features that are not accidental as the books were created at more or less the same time."

"...from my point of view, a very serious, worthy and professional exhibition. It's nice that there is a solid culture of color, ...there is a persistent desire to express their feelings of life, their artistic vision."

"Biochemical data and experiments confirm that human possibilities – including biological ones – they improve when they get in touch with positive energy and the adrenalin that derives from the best forms of culture. It is a very evident application and it help all sorts of human fulfillment. I think this is the main economic effect the museums give."

"There is nothing actual and real except nature and poetry. (Il n'y a de positif et de réel que la nature et la poésie.)"

"The single party, the secret police, the public displays of Caesarism, even the presence of a Führer are not necessarily attributes of fascism. […] The famous fascist methods are constantly revised and will continue to be revised. More important than the mechanism is the idea which fascism has created for itself of man and freedom. […] With another name, another face, and with nothing which betrays the projection from the past, with the form of a child we do not recognize and the head of a young Medusa, the Order of Sparta will be reborn: and paradoxically it will, without doubt, be the last bastion of Freedom and the sweetness of living."

"We have been living for three years on a falsification of history. This falsification is clever: it leads to imaginations, then relies on the conspiracy of imaginations. [...] It had been a good fortune to discover in 1945 those concentration camps that no one had heard of until then, and which became precisely the proof we needed, the flagrante delicto in its purest form, the crime against humanity that justified everything. [...] The moral war was won. The German monstrosity was proved by these precious documents. [...] And the silence was such, the curtain was so skillfully, so abruptly revealed, that not a single voice dared to say that all this was too good to be perfectly true."

"If some people think of establishing an antifascist and stateless Europe, which would be virtually remote-controlled from New York or Tel Aviv, this colonized Europe does not appeal to us at all, and we also believe that such a conception would only prepare the way for communist infiltration and war."

"Barbarism is needed every four or five hundred years to bring the world back to life. Otherwise it would die of civilization."

"Baudelaire had supper at the table next to ours. He was without a cravat, his shirt open at the neck and his head shaved, just as if he were to be guillotined. A single affectation: his little hands washed and cared for, the nails kept scrupulously clean. The face of a maniac, a voice that cuts like a knife, and a precise elocution that tries to copy Saint-Just and succeeds."

"We asked ourselves whether, in these days of equality in which we live, there are classes unworthy the notice of the author and the reader, misfortunes too lowly, dramas too foul-mouthed, catastrophes too commonplace in the terror they inspire."

"She was, so to speak, an impersonal creature, because of her great heart; a woman who did not belong to herself: God seemed to have made her only to give her to others."

"What is not possible is to combine the pursuit of pleasure and the enjoyment of comfort with the characteristic pleasures of a strong mind. If you wish for luxury, you must not nourish the inquisitive instinct."

"Without an allegiance to beauty, art degenerates into a caricature of itself. It is beauty that animates aesthetic experience, making it so seductive; but aesthetic experience itself degenerates into a kind of fetish or idol if it is held up as an end in itself, untested by the rest of life."

"The true democrat wishes to share the great works of culture with all who are able to appreciate them; the egalitarian, recognizing that genuine excellence is rare, declares greatness a fraud and sets about obliterating distinctions."

"Some people regard the astonishing collapse of manners and civility in our society as a superficial event. They are wrong. The fate of decorum expresses the fate of a culture’s dignity, its attitude toward its animating values."

""History,” Bagehot wrote, “is strewn with the wrecks of nations which have gained a little progressiveness at the cost of a great deal of hard manliness, and have thus prepared themselves for destruction as soon as the movements of the world gave a chance for it.”"

"And let’s not forget “Dane-Geld”: It is always a temptation to a rich and lazy nation, To puff and look important and to say: “Though we know we should defeat you, we have not the time to meet you. We will therefore pay you cash to go away.” And that is called paying the Dane-geld; But we’ve proved it again and again, That if once you have paid him the Dane-geld You never get rid of the Dane."

"As with most revolutions, the counterculture's call for total freedom quickly turned into a demand for total control. The phenomenon of 'political correctness', with its speech codes and other efforts to enforce ideological conformity, was one predictable result of this transformation. What began at the University of California at Berkeley with the Free Speech Movement (called by some the 'Filthy Speech Movement'} soon degenerated into an effort to abridge freedom by dictating what could and could not be said about any number of politically sensitive issues."

"We - the industrialized, technologized world - have never been richer. And yet to an extraordinary extent we in the West continue to inhabit a moral and cultural universe shaped by the hedonistic imperatives and radical ideals of the Sixties. Culturally, morally the world we inhabit is increasingly a trash world: addicted to sensation, besieged everywhere by the cacophonous, mind-numbing din of rock music, saturated with pornography, in thrall to the lowest common denominator wherever questions of taste, manners or intellectual delicacy are concerned. Marwick was right: 'The cultural revolution, in short, had continuous, uninterrupted, and lasting consequences'."

"The Beats are crucial to an understanding of America's cultural revolution not least because in their lives, their proclamations, and (for lack of a more accurate term) their 'work' they anticipated so many of the pathologies of the Sixties and Seventies. Their programmatic anti-Americanism, their avid celebration of drug abuse, their squalid, promiscuous sex lives, their pseudo-spirituality, their attack on rationality and their degradation of intellectual standards, their aggressive narcissism and juvenile political posturing: in all this and more, the Beats were every bit as 'advanced' as any Sixties radical."

"Ginsberg turned out to be depressingly prescient when, after a heated argument with Norman Podhoretz in 1958, he yelled, 'We'll get you through your children!' For countless American families, that turned out to be only too true."

"If the politicization of art and education represents one large part of the counterculture's legacy, the coarsening of feeling and sensibility is another. No phenomenon has done more to advance this coarsening than rock music. It is impossible to exaggerate the importance of rock music to the agenda of the cultural revolution. It is also impossible to overstate its soul-deadening destructiveness. The most reviled part of Allan Bloom's book The Closing of the American Mind was his chapter criticizing the effects of rock. But Bloom was right in insisting that rock music is a potent weapon in the arsenal of emotional anarchy. The triumph of rock was not only an aesthetic disaster of giant proportions: it was also a moral disaster whose effects are nearly impossible to calculate precisely because they are so pervasive."

"Like the medieval heretics that Norm Cohn wrote about in The Pursuit of the Millennium, the Beats cultivated an extreme narcissism that bordered on self-deification and that 'liberated them from all restraints' and allowed them to experience every impulse as a 'divine command'. What Norman Podhoretz observed of Ginsberg was also true of the Beats generally: they 'conjured up a world of complete freedom from the limits imposed by [bourgeois] responsibilities'. Podhoretz added, 'It was a world that promised endless erotic possibility together with the excitements of an expanded consciousness constantly open to new dimensions of being: more adventure, more sex, more intensity, more life'. Alas, the promise was illusory. Instead of an 'expanded consciousness', the Beats purchased madness, ruination, and, for many, an early death. Their attack on bourgeois responsibility led not to greater freedom but to greater chaos. The erotic paradise they envisioned turned out to be rife with misery."

"The Beats, like their successors in the Sixties, have often been described as 'idealists'. But fantasies of total gratification are not the product of idealism. They arise from a narcissism that, finding the world unequal to its desires, retreats into a realm of heedless self-absorption. Modesty, convention, and self-restraint then appear as the enemies rather than as the allies of humanity. In this sense, the Beat generation marks a step away from civilization."

"The institutionalization of the Beat ethic has been a moral, aesthetic, and intellectual disaster of the first order. (It has also been a disaster for fashion and manners, but that is a separate subject.) We owe to the 1960s the ultimate institutionalization of immoralist radicalism: the institutionalization of drugs, pseudo-spirituality, promiscuous sex, virulent anti-Americanism, naive anti-capitalism, and the precipitous decline of artistic and intellectual standards. But the1960s and 1970s only codified and extended into the middle class the radical spirit of the Beats, who, in more normal times, would have remained what they were in the beginning; members of a fringe movement that provided stand-up comics with material."

"The Beats inaugurated the long march through the moral territory of American culture. Who knows how many lives were blighted along the way as a result of their proselytizing on behalf of drugs and promiscuous sex?"

"Ginsberg, Burroughs, and Kerouac were all on the side of the savage. That their penny-ante gnosticism was not only perpetuated but mythologized and spread abroad as a gospel of emancipation is something for which we have the Sixties to thank - or to blame."

"In short order, the unconventional became the established convention; the perverse was embraced as normal; the unspeakable was broadcast everywhere; the outrageous was met with enthusiastic applause."

"You cannot step a foot into the literature about the 1960s without being told how 'creative', 'idealistic', and 'loving' it was, especially in comparison to the 1950s. In fact, the counterculture of the Sixties represented the triumph of what the art critic Harold Rosenberg famously called the 'herd of the independent minds'. Its so-called creativity consisted in continually recirculating a small number of radical cliches; its idealism was little more than irresponsible utopianism; and its crusading for 'love' was largely a blind for hedonistic self-indulgence."

"The Beats were tremendously significant, but chiefly in the way that they provided a preview in the 1950s of the cultural, intellectual, and moral disasters that would fully flower in the late 1960s. The ideas of the Beats, their sensibility, contained in ovo all the characteristics we think of as defining the cultural revolution of the Sixties and Seventies. The adolescent longing for liberation from conventional manners and intellectual standards; the polymorphous sexuality; the narcissism; the destructive absorption in drugs; the undercurrent of criminality; the irrationalism; the naive political radicalism and reflexive anti-Americanism; the adulation of pop music as a kind of spiritual weapon; the Romantic elevation of art as an alternative to rather than as an illumination of normal reality; the pseudo-spirituality, especially the spurious infatuation with Eastern religions: in all this and more the Beats provided a vivid glimpse of what was to come."

"Incidentally, why is it that drug abuse is always described as an 'experiment', as if some important scientific enterprise were at stake instead of hedonistic self-indulgence?"

"The very concept of "ethnocentrism," which is used like a sledge-hammer to disparage the West, is a Western invention."

"[B]ehind the many pseudo-sciences that have recently dominated literary criticism . . . you will find the same suspicion of literature, a desire to sever our relation to it by denuding it of meaning. The "methods" proposed are laughable caricatures of science; and the results delivered are useful to no one. But that was not the point. The methods of the new literary theorist are really weapons of subversion: an attempt to destroy humane education from within, to rupture the chain of sympathy that binds us to our culture. That is why the new schools of criticism have acquired a following: they promise to release us from the burden of study by showing that there is nothing after all to learn."

"[M]eaningful politics must recognize other important values in human life. Indeed, politics makes no sense when it stands by itself. If the question who wields political power is not broadened to take account of what that power is to be used for - that is, what human values it will serve - then it reduces to a matter of who manages to subdue whom."

"The notion that some works are better and more important than others; that some works exert a special claim on our attention; that "being educated" requires a thoughtful acquaintance with these works and an ability to discriminate between greater and lesser-all this is anathema to the forces arrayed against the traditional understanding of the humanities. The very idea that the works of Shakespeare (for example) might be indisputably greater than the collected cartoons of Bugs Bunny is often rejected as "antidemocratic" and "elitist," an imposition on the freedom and political interests of various groups."

"The institutionalization of the radical ethos in the academy has brought with it not only an increasing politicization of the humanities, but also an increasing ignorance of the humanistic legacy. Instead of reading the great works of the past, students watch movies, pronounce on the depredations of patriarchal society, or peruse second- or third-rate works dear to their ideological cohort; instead of reading widely among primary texts, they absorb abstruse commentaries on commentaries, resorting to primary texts only to furnish illustrations for their pet critical "theory." Since many older professors have themselves been the beneficiaries of the kind of traditional education they have rejected and are denying their students, it is the students who are the real losers in this fiasco."

"I am particularly motivated to promote the work of Tunisian and North African contemporary artists who live in their countries, and don’t have enough international visibility."

"In an Arabo-Islamic country, it is important that artists remind and highlight the importance of the body in the private, social, and cultural life."

"This recent spectacular growth on the number of art students has certainly boosted the interest for art-related events but not necessarily produced more quality artists on the national and international scene yet"

"That is why today, an intercultural event around the concept of the limits and excesses of the body can give food for thought on our present."

"A mad little maid is Rose Madder, As bad as they make 'em and badder. At her window one night Was the scandalous sight Of a lad and, God help us, a ladder."

"Ici, elle était vraiment fille; elle obéissait à son tempérament de femme ardente et cruelle; elle vivait, plus raffinée et plus sauvage, plus exécrable et plus exquise; elle réveillait plus énergiquement les sens en léthargie de l’homme, ensorcelait, domptait plus sûrement ses volontés, avec son charme de grande fleur vénérienne, poussée dans des couches sacrilèges, élevée dans des serres impies."

"At the Paris Exhibition, the Soviet pavilion and the Italian Futurist section represented the cutting edge of artistic avant-garde. It featured the architectural concepts and theater decoration and set designs of Enrico Prampolini and Giacomo Balla, and the panels of Fortunato Depero, with their vivid colors, embroidered figures, and cloth superimposed on cloth, perfectly executed and of the finest taste, with a stylized composition that was schematic and sometimes caricatural. Some of his painted wooden puppets also attest to his inventiveness, with their summary volumes and search for curious and effective rhythms, often with happy results."

"Religious art Is the blossom of religious dogma, and is its pictorial exponent. It is no more possible to have a religious art without dogmas, than to have a religious worship without faith. From this faith In a revealed dogma, will spring, with more or less perfection and vigor, every work bearing. In the most remote manner, upon religious events and emotions; and, not from the bare belief, but from the glowing, sanctified inspiration of devout affection, holy desire and adoring faith, have sprung. In every age, those conceptions of heavenly things that appeal to the sympathies of modern as well as of ancient Christendom."

"Although the assassination at Sarajevo was certainly the crucial precedent of the European war that its conspirators had sought, it was not the historical cause. ... The implication is that the war was, if not inevitable, at least impending, so that the assassination acted as a lever, prying the various powers into predictable paths."