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 Artistic activity or development may go against some nervous problems and major diseases, by its effects on the libido system in man
No one should drive a hard bargain with an artist. [Ludwig Van Beethoven]
The art of medicine consists of amusing the patient while nature cures the
disease. [Voltaire]
There is an art of reading . . . and an art of writing. [Isaac Disraeli]
Art is like a lie that makes us realise somewhat better, here and there. [Cf.
Pablo Picasso] ◊
The most beautiful thing we can experience is the . . . source of all true art. . . .
He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in
awe, is as good as dead: his eyes are closed. [Albert Einstein]
 To meet a
harsh-looking woman and faint from the sight only, rests on lack of reserves well inside,
and can at best rise only to a dubious art
IF MY husband would ever meet a woman on the street who looked like the women in
his paintings, he would fall over in a dead faint. [Mrs. Pablo Picasso]
 One may try
to find out where, how often, to what extent and under what conditions public schooling is
your enemy and enemy of the art of learning as well
THE ART of war is simple enough. Find out where your enemy is. Get at him as soon
as you can. Strike at him as hard as you can and as often as you can, and keep moving on.
[Ulysses S. Grant]
To know how to suggest is in the art of loving, art of conversation, art of upbringing, and so on. (#2.2)
"Art . . . at bottom there may be a need to look elegant and all right."
- THE ART OF "MEDICINE" CAN'T BE DONE AWAY WITH. The main reason why artistic development often cures nervous problems and up to major diseases, lies in the gladdening
of the libido or zest deep inside. The art of "medicine" consists of amusing while nature
cures, much as Voltaire suggests. Amusements can't be dispensed with.
- HOW GOOD RESERVES FOR COPING CAN BE BUILT IN THE BODIES AND MINDS OF YOUNG ONES, IS PART OF GOOD UPBRINGING. To meet a harsh-looking woman and faint from the sight only, rests on lack of reserves well inside, and can at best rise only to a dubious art -
- WELL MASTERED STUFF IS REPEATED AFTER INITIAL MASTERY. ONE GETS ACCOMPLISHED BY THAT. It should pay to find out where, how and to what extent such as public schooling works contrary to how one learns and masters stuff. Good study is for that, and it helps
to keep a heart. And to suggest these and many other things very carefully is also in the
art of teaching.
Amusements very often rise from being looked on as dubious in the first place,
and many forms of arts have done that too. And what we call Voltaire-liked "good medicine"
fit for coping can be repeatedly ingested -
The artistic
process consists in allowing the usual blunders a lot of times, to look impressive on
others eventually
ART CONSISTS of limitation. Tune in to this: the most beautiful part of any
picture that Gilbert K. Chesterson ever was allowed to see, was the frame. [Cf. Gilbert K.
Chesterton]
Art makes something a lot more visible or audible. [Cf. Paul Klee]
The artistic temperament looks a bit like the diseases tuberculosis and syphilis
mingled: It can become the direct organisation of more highly evolved sensations. Culinary
artistry lies in no-nonsense too - at times. [Cf. Gilbert K. Chesterton and Guy Debord]
Most experts know of no substitute whatever for the artistic process. Its outcomes
hint at what it actually feels like to think subtly and feel nobly. [Cf. Henry James and
Aldous Huxley]
Art! Who comprehends her? With whom can one consult concerning this great goddess?
[Ludwig Van Beethoven]
To serve grand ideas with a major work is not bad, nor is it all there is to art.
[Cf. Vaclav Havel]
Every great work of art has a face toward eternity. [Cf. Daniel Barenboim]
Art is about getting accomplished. In America the successful writer or
picture-painter can turn into one of the decent-looking businessmen. Those sides of art
can come as a revelation to some. Art itself can be a revelation of man. [Cf. Sinclair
Lewis and Henry Wadsworth Longfellow] ◊
Art, like morality, consists in drawing the line somewhere, and politics is the
art of preventing people from sticking their noses in things that are properly their
business. Politics is also the art of preventing people from sticking to much that was
formerly their business. [Gilbert K. Chesterton and Paul Valery]
Art . . . can become the direct organisation of more highly evolved sensations. [Guy
Debord]
Few things turn so poor and melancholy as art that is interested in itself and not
in its subject. [Cf. George Santayana]
The artist must know of how to impress on others the truth of his airy lies - they
include the perspectives that are made use of too. [Cf. Pablo Picasso]
Wherever good art appears, pointless to geese and perhaps too beneficial to some,
sordid conditioning in life happens to get less. [Cf. Günther Grass and Francis
Picabia]
The more minimal the art, the more needs for savoury explanations. [Cf. Hilton
Kramer]
The art of living is more like wrestling than dancing, in so far as it stands
ready against the accidental and the unforeseen, and is not apt to fall. [Marcus Aurelius
Antoninus]
Those who write or make love for mink or sudden fame, they take a lot, and the
public history of modern art and a current marriage-divorce roulette is one of not knowing
exactly what one is dealing with for a long time. [Cf. Edward Dahlberg and Robert
Motherwell]
The whole
world turns into a slipshod mess where mankind rules and burns down good forests: good art
is significantly different
SCIENCE AND art should encompass the whole world, allowing for nationality.
Besides, deft cat bathing is a little martial art, and no creature of nature is inferior
to art. [Cf. Johann Wolfgang von Goethe]
One of the stiff distinctions of the artist is that he must actively cultivate a
state that most men try to avoid: the state of being alone. Another distinction is that if
he has a genius for painting, poetry, music, architecture or philosophy, he could make a
bad husband and an ill provider. [Cf. James Baldwin and Ralph Waldo Emerson]
The work of art must seize upon you if it is to spell into your whole world. It is
the means by which the artist conveys some confluent je ne sais quoi ("I know not what").
It is the current which he puts forth in his slipshod passion. [Cf. Jules Renard]
Set the
artist free to be without directions from over his head, and at long last old ladies of
another generation welcomes his efforts
SOCIETY must set the artist free to follow his vision wherever it takes him. [John
F. Kennedy (partial)]
Pointless to old ladies and yet good for something, new, good art is too serious
to be taken just literally and seriously. [Cf. Günther Grass and Ad Reinhardt] (#3.1)
"Good thinking is cogent and sharp, and can be learnt and
taught in gross outline."
- LOOKING IMPRESSIVE IS ALPHA AND OMEGA OF STOUTNESS. The artistic process
consists in allowing the usual blunders a lot of times, to look impressive on others
eventually. Who comprehends good art but stout individuals?
- BURNING AND RUINING WORKS OF ART IS FAR FROM THE GOOD ART ITSELF. The whole world turns into a slipshod mess where mankind rules and burns down good forests: good art
is significantly different.
- INDIVIDUALS THAT ARE NOT OUTER-STEERED (OUTER-DIRECTED) CAN KNOW AND MASTER A LOT FROM DEEP INSIDE, LIKE PABLO PICASSO. Set the artist free to be without directions from over his head, and at long last old ladies of another generation welcomes his
efforts.
Really stout art comes from deeper inside. Good love-making tends to come
naturally, much by itself, in part.
The good art looks impressive, like works of the mature Pablo Picasso.
Art links up to artistic development and "rules" for having art through such stout
individuals.
Art is at best a friend of life
I know of no substitute whatever for the force and beauty of an accomplished
artistic process. — Wherever sound art appears, a lo oft life disappears. [Cf. Henry James
and Francis Picabia]
Art is [often] on the side of the oppressed. . . . If art is freedom of the spirit,
how can it exist within the oppressors? [Nadine Gordimer]
Through art we express our conception of what nature is not. — Were art to redeem
man, it could do so only by saving him from the seriousness of life and restoring him to
an unexpected boyishness. [Pablo Picasso and Jose Ortega Y Gasset]
Art never improves, but it can be some objectification of feeling. [T. S. Eliot
and Suzanne K. Langer]
The finest works of art make it possible for us to know, if just for a little
while, what it actually feels like to think subtly and feel nobly — I have seen and heard
much, but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of
paint in the public's face. [Cf. Aldous Huxley and John Ruskin]
Life is the art of drawing sufficient conclusions from insufficient premises.
[Samuel Butler] ◊
I am not mad. — The public history of modern art is the story of conventional people
not knowing what they are dealing with. [Salvadore Dali and Robert Motherwell] ◊
The artistic temperament is a disease that affects amateurs . . . in artists of less
force, the thing becomes a pressure, and produces a definite pain. — The reward of art is
not fame or success but intoxication: that is why so many bad artists are unable to give
it up. [Gilbert K. Chesterton and Cyril Connolly]
The dignity of the artist lies in his duty of keeping awake the sense of wonder in
the world, himself striving against a continual tendency to sleep. — Art is not be coquetted
with, and she repays with grand triumphs. [Cf. Gilbert K. Chesterton and Charlotte
Saunders Cushman]
The progress of an artist can look like a continual self-sacrifice, a continual
smoldering of the individual assets. — Art is a bland mistress: if a man has a genius for
painting, poetry, music, architecture or philosophy, he makes a bad husband and an ill
provider. [Cf. T. S. Eliot and Ralph Waldo Emerson]
There is much
work at the bottom of seemingly effortless work in art and encounters
The effort of art is to keep what is interesting in existence, to recreate it in
the eternal. [George Santayana]
There is no need to get crucified if you know how to live. ◊
Copying a lot
may turn into beginner's mistakes in the artistic development
It's a beginner's mistake to assume that art which is rooted in copying, can be
very elevated. It's not even very serious art. (#4.3)
"From our hard-won art of living: What is fit in the long run,
suits us fairly well now and without much fuss about it."
- JUMBLED, FRAGMENTED STATEMENTS CAN BE ALL RIGHT STRUCTURED THROUGH OUR SYSTEM; WE COULD EVEN HELP POLITICAL PARTIES.
- GOOD WORK AT STRUCTURAL FUNDAMENTS ALLOWS SURPRISINGLY SPECTACULAR BUILDINGS ON TOP OF IT. There is much work at the bottom of seemingly effortless work in art and encounters.
- ONE SHOULD LEARN AND GRASP AND PRACTICE ON TOP OF OUR BASIC PROGRAMME FIRST. SUCH A METHOD IS CALLED GOOD SCHOOLING IN GENERAL. Copying a lot means ruining your nose - and such figurative things may turn into beginner's mistakes in the artistic development.
At bottom of very spectacular statements or arrangements of statements, there
should be no halted standard layout (design, basic scheme), for the latter leads into more
ample learning through eased accommodations.
Odd and cramped frogs at the bottom of their old ponds may never see high enough
for it. Let that be their problem.
Literature
Part 1
| Arp, Jean |
Hockney, David |
Menzies, Robert |
| Murrow, R. Edward |
Nietzsche, Friedrich |
Pound, Ezra |
| Schiller, Friedrich von |
|
|
Part 2
| Amiel, Henri-Frédéric |
Anderson, Lindsay |
Antoninus, Marcus Aurelius |
| Bangs, Lester |
Beethoven, Ludwig van |
Berra, Yogi |
| Butler, Samuel |
Cather, Willa |
Disraeli, Isaac |
| Dreiser, Theodore |
Einstein, Albert |
Faulkner, William |
| Gide, Andre |
Grant, Ulysses S. |
Ionesco, Eugene |
| Kennedy, John F. |
Matisse |
Picasso, Mrs. Pablo |
| Picasso, Pablo |
Voltaire |
|
Part 3
| Antoninus, Marcus Aurelius |
Baldwin, James |
Barenboim, Daniel |
| Beethoven, Ludwig van |
Chesterton, Gilbert K. |
Dahlberg, Edward |
| Debord, Guy |
Emerson, Ralph Waldo |
Goethe, Johann von |
| Grass, Günther |
Havel, Vaclav |
Huxley, Aldous |
| James, Henry |
Kennedy, John F. |
Klee, Paul |
| Kramer, Hilton |
Lewis, Sinclair |
Longfellow, Henry W. |
| Motherwell, Robert |
Picabia, Francis |
Picasso, Pablo |
| Reinhardt, Ad |
Renard, Jules |
Santayana, George |
| Valery, Paul |
|
|
Part 4
| Butler, Samuel |
Chesterton, Gilbert K. |
Connolly, Cyril |
| Cushman, Charlotte Saunders |
Dali, Salvadore |
Eliot, T.S. |
| Emerson, Ralph Waldo |
Gasset, Jose Ortega Y |
Gordimer, Nadine |
| Huxley, Aldous |
James, Henry |
Langer, Suzanne K. |
| Motherwell, Robert |
Picabia, Francis, |
Picasso, Pablo |
| Ruskin, John |
Santayana, George |
|
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