Work of Art Is the Unique Result of a Unique Temperament Its Beauty the Artist as a Critic
„A work of art is the unique result of a unique temperament. Its beauty comes from the fact that the author is what he is. Information technology has nothing to do with the fact that other people want what they want. Indeed, the moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a dull or an amusing craftsman, an honest or a quack tradesman. He has no further claim to be considered every bit an artist."
The Soul of Man Nether Socialism (1891)
Adopted from Wikiquote. Terminal update June iii, 2021.
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„The people itself ( and I do not mean the 'masses') has ever given art its essential mode. The artist merely clarifies and fullfils the volition of the people. But when the people does not know what it wants, or worst of all, wants nix.... then its artists, driven to seeking their own forms, remain isolated, and become martyrs... Folk art – that is, the feeling of people for artistic form – can arise again only when the whole jumble of worn-out art concepts of the nineteenth century has been wiped from the retentivity of generations."
— Franz Marc German painter 1880 - 1916
Max Beckmann's stance on this issue you lot find in: 'Quotes About Franz Marc', beneath
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445-446
„He has lost faith in the political power of the feet and of the tongue. As a result, what he wants is non more freedom as a denizen but better service as a client. He does non insist on his freedom to move and to speak to people just on his claim to be shipped and to exist informed by media. He wants a better product rather than liberty from servitude to information technology. It is vital that he come to meet that the acceleration he demands is cocky-defeating, and that information technology must event in a farther decline of equity, leisure, and autonomy."
— Ivan Illich, volume Free energy and Disinterestedness
"Energy and Equity" (1974).
Context: The habitual passenger cannot grasp the folly of traffic based overwhelmingly on send. His inherited perceptions of space and time and of personal stride take been industrially plain-featured. He has lost the power to excogitate of himself outside the passenger role. Fond to being carried along, he has lost command over the concrete, social, and psychic powers that reside in homo's feet. The rider has come to identify territory with the untouchable landscape through which he is rushed. He has go impotent to establish his domain, marker it with his banner, and assert his sovereignty over information technology. He has lost confidence in his power to acknowledge others into his presence and to share space consciously with them. He can no longer confront the remote by himself. Left on his own, he feels immobile.
The habitual passenger must adopt a new gear up of behavior and expectations if he is to experience secure in the strange earth where both liaisons and loneliness are products of conveyance. To "assemble" for him means to be brought together by vehicles. He comes to believe that political power grows out of the capacity of a transportation system, and in its absence is the result of access to the television screen. He takes freedom of motion to be the same as one's claim on propulsion. He believes that the level of democratic procedure correlates to the power of transportation and communications systems. He has lost faith in the political power of the feet and of the tongue. As a result, what he wants is non more than liberty every bit a citizen simply better service as a client. He does not insist on his freedom to move and to speak to people but on his claim to exist shipped and to be informed by media. He wants a improve product rather than liberty from servitude to it. It is vital that he come up to see that the acceleration he demands is self-defeating, and that it must event in a further pass up of disinterestedness, leisure, and autonomy.
„An individual who has to brand things for the use of others, and with reference to their wants and their wishes, does not piece of work with interest, and consequently cannot put into his work what is best in him. Upon the other manus, whenever a community or a powerful section of a community, or a government of any kind, attempts to dictate to the creative person what he is to do, Art either entirely vanishes, or becomes stereotyped, or degenerates into a low and ignoble grade of craft."
— Oscar Wilde, book The Soul of Homo under Socialism
The Soul of Homo Under Socialism (1891)
„Fine art is not for the personal satisfaction of 1 or the other, only art wants to return all what's in life… Art wants to give back everything what'due south in our lives. The more comprehensive the artist stands in life the more powerful his work will speak, and therefore a piece of work of art is a measure of the mental size of his creator."
— Bram van Velde Dutch painter 1895 - 1981
Letter of the alphabet to H. E. Kramer, 25-10-1926, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 44 (English language translation: Charlotte Burgmans)
1920'southward
„…What people miss well-nigh (Marilyn) Manson is that he is simply reflecting, he'due south an creative person, people desire to focus that energy on him, merely it'south not really him, information technology'south actually well-nigh you. And so for every guy sitting at that place with a beer and a.45 in his belt, Manson is just speaking to that stop of guild. He's speaking every bit an artist. He'southward not speaking as himself, and that's where people go really lost with Manson."
— Billy Corgan American musician, songwriter, producer, and author 1967
Corgan, William. Interview. 1998 Pre-Grammy Prove. MTV. 25 February 1998.
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