"Only passions, and great passions, can raise the soul to great things. Without them there is no sublimity, either in morals or increativity. Art returns to infancy, and virtue becomes small- minded."
"Experiments in the visual arts (the invention of new ways of seeing things), are made because, due to the way the apparatus that makes up the mind is made, old processes and patterns have continually to be broken up in order to make it possible to perceive the new aspects and arrangements of evolving consciousness. The great enemy of intelligence is complacency."
"Women hock their jewels and their husbands' insurance policies to acquire an unaccustomed shade in hair or crêpe de chine. Why then is it that when anyone commits anything novel in the arts he should be always greeted by this same peevish howl of pain and surprise? One is led to suspect that the interest people show in these much talked of commodities, painting, music, and writing, cannot be very deep or very genuine when they so wince under an unexpected impact."
"In a moment when criticism shows a singular dearth of direction every man has to be a law unto himself in matters of theatre, writing, and painting. While the American Mercury and the new Ford continue to spread a thin varnish of Ritz over the whole United States there is a certain virtue in being unfashionable."
"Feminist art is not some tiny creek running off the great river of real art. It is not some crack in an otherwise flawless stone.It is, quite spectacularly I think, art which is not based on the subjugation of one half of the species. It is art which will take the great human themes--love, death, heroism, suffering, history itself--and render them fully human. It may also, though perhaps our imaginations are so mutilated now that we are incapable even of the ambition, introduce a new theme, one as great and as rich as those others--should we call it "joy"?"
"Art should exhilarate, and throw down the walls of circumstance on every side, awakening in the beholder the same sense of universal relation and power which the work evinced in the artist, and its highest effect is to make new artists."
"Art is the need to create; but in its essence, immense and universal, it is impatient of working with lame or tied hands, and of making cripples and monsters, such as all pictures and statues are. Nothing less than the creation of man and nature is its end."
"I now require this of all pictures, that they domesticate me, not that they dazzle me. Pictures must not be too picturesque. Nothing astonishes men so much as common-sense and plain dealing. All great actions have been simple, and all great pictures are."
"The artist who is to produce a work which is to be admired, not by his friends or his towns-people or his contemporaries, but by all men, and which is to be more beautiful to the eye in proportion to its culture, must disindividualize himself, and be a man of no party and no manner and no age, but one through whom the soul of all men circulates as the common air through his lungs. He must work in the spirit in which we conceive a prophet to speak, or an angel of the Lord to act; that is, he is not to speak his own words, or do his own works, or think his own thoughts, but he is to be an organ through which the universal mind acts."
"Nature predominates over the human will in all works of even the fine arts, in all that respects their material and external circumstances. Nature paints the best part of the picture, carves the best of the statue, builds the best part of the house, and speaks the best part of the oration."
"Herein is the explanation of the analogies, which exist in all the arts. They are the re-appearance of one mind, working in many materials to many temporary ends. Raphael paints wisdom, Handel sings it, Phidias carves it, Shakspeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Painting was called "silent poetry," and poetry "speaking painting." The laws of each art are convertible into the laws of every other."
"The virtue of art lies in detachment, in sequestering one object from the embarrassing variety. Until one thing comes out from theconnection of things, there can be enjoyment, contemplation, but no thought."
"Each work of art excludes the world, concentrates attention on itself. For the time it is the only thing worth doing--to do just that; be it a sonnet, a statue, a landscape, an outline head of Caesar, or an oration. Presently we return to the sight of another that globes itself into a whole as did the first, for example, a beautiful garden; and nothing seems worth doing in life but laying out a garden."