For years, I had heard about the lack of interest in literature in the U.S. and I had complained about it. I failed to understand how people could fail to be moved by art.
Painting is by nature a luminous language.
Impressionism; it is the birth of Light in painting.
If Art relates itself to an Object, it becomes descriptive, divisionist, literary.
Art in Nature is rhythmic and has a horror of constraint.
Literary critics, however, frequently suffer from a curious belief that every author longs to extend the boundaries of literary art, wants to explore new dimensions of the human spirit, and if he doesn't, he should be ashamed of himself.
The drama may be called that part of theatrical art which lends itself most readily to intellectual discussion: what is left is theater.
I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.
I'm very much involved in art. I started buying art a few years ago and really like the work of T.C. Cannon, who is a native American artist. Then I was introduced to Soviet-era Russian impressionism and started collecting that, especially Gely Korzh...
Every artist was first an amateur.
In art, the hand can never execute anything higher than the heart can imagine.
Pictures must not be too picturesque.
I'm the classic example of alienation: I grew up in a middle-class household without art or books. I was going to be a chemical engineer until I went to the theatre for the first time at 16 and was blown away by it.
Balance is the enemy of art.
No movie has ever been able to provide a catharsis for the Holocaust, and I suspect none will ever be able to provide one for 9/11. Such subjects overwhelm art.
What moves me in art is how we question who we are as people.
Parents are usually more careful to bestow knowledge on their children rather than virtue, the art of speaking well rather than doing well; but their manners should be of the greatest concern.
My worry is that opera will become an historic art form as opposed to a living, breathing thing.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake mysel...
Now, the language that had grown up and formed itself on those principles is what one is dealing with, and the problem is to bring a work of art in that medium into another medium formed on different principles and heard and understood in a different...
Nature generally struggles against this treatment for a while, until her powers seem in a great measure exhausted, when she quietly yields to the power of the art.
