I have heard that stiff people lose something of their awkwardness under high ceilings, and in spacious halls. I think, sculptureand painting have an effect to teach us manners, and abolish hurry.
If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination.
This fellow is wise enough to play the fool; And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye. This is a practise As full of labour as a wise man's art For folly that he wisely shows is fit; But wise men, folly-fall'n, quite taint their wit.
The truth is revealed by removing things that stand in its light, an art not unlike sculpture, in which the artist creates, not by building, but by hacking away.
Bad artists always admire each other's work. They call it being large-minded and free from prejudice. But a truly great artist cannot conceive of life being shown, or beauty fashioned, under any conditions other than those he has selected.
I assert once again as a truth to which history as a whole bears witness that men may second their fortune, but cannot oppose it; that they may weave its warp, but cannot break it. Yet they should never give up, because there is always hope, though they know not the end and more towards it along roads which cross one another and as yet are unexplored; and since there is hope, they should not despair, no matter what fortune brings or in what travail they find themselves.
The power of both myth and art is this magical ability to open doors, to make connections - not only between us and the natural world, but between us and the rest of humanity. Myths show us what we have in common with every other human being, no matter what culture we come from, no matter what century we live in. . .and at the same time, mythic stories and art celebrate our essential differences.
What is the foundation of that interest all men feel in Greek history, letters, art, and poetry, in all its periods, from the Heroic or Homeric age down to the domestic life of the Athenians and Spartans, four or five centuries later? What but this, that every man passes personally through a Grecian period.
The sight of a Black nun strikes their sentimentality; and, as I am unalterably rooted in native ground, they consider me a work of primitive art, housed in a magical color; the incarnation of civilized, anti-heathenism, and the fruit of a triumphing idea.
A legislator must know how to take advantage of even the defects of those he wants to govern. The art consists in making others work rather than in wearing oneself out.
You must know, then, that there are two methods of fighting, the one by law, the other by force: the first method is that of men, the second of beasts; but as the first method is often insufficient, one must have recourse to the second.
Very early in my life I took the question of the relation of art to truth seriously: even now I stand in holy dread in the face of this discordance. My first book was devoted to it. The Birth of Tragedy believes in art on the background of another belief