Art History Quotes

Quotes tagged as "art-history" Showing 1-30 of 62
Bob  Ross
“wash the brush, just beats the devil out of it ”
Bob Ross, The Joy of Painting with Bob Ross, Vol. 29

Hannah Gadsby
“Ironically, I believe Picasso was right. I believe we could paint a better world if we learned to see it from all perspectives, as many perspectives as we possibly could. Because diversity is strength. Difference is a teacher. Fear difference, you learn nothing.

Picasso’s mistake was his arrogance. He assumed he could represent all of the perspectives. And our mistake was to invalidate the perspective of a 17-year-old girl because we believed her potential would never equal his.

Hindsight is a gift. Stop wasting my time.

A 17-year-old girl is just never, ever, ever in her prime! Ever. I am in my prime. Would you test your strength out on me?

There is no way anyone would dare test their strength out on me because you all know there is nothing stronger than a broken woman who has rebuilt herself.”
Hannah Gadsby

Terry Eagleton
“Because subjects like literature and art history have no obvious material pay-off, they tend to attract those who look askance at capitalist notions of utility. The idea of doing something purely for the delight of it has always rattled the grey-bearded guardians of the state. Sheer pointlessness has always been a deeply subversive affair.”
Terry Eagleton

Thomas Bernhard
“The art historians are the real wreckers of art, Reger said. The art historians twaddle so long about art until they have killed it with their twaddle. Art is killed by the twaddle of the art historians. My God, I often think, sitting here on the settee while the art historians are driving their helpless flocks past me, what a pity about all these people who have all art driven out of them, driven out of them for good, by these very art historians. The art historians’ trade is the vilest trade there is, and a twaddling art historian, but then there are only twaddling art historians, deserves to be chased out with a whip, chased out of the world of art, Reger said, all art historians deserve to be chased out of the world of art, because art historians are the real wreckers of art and we should not allow art to be wrecked by the art historians who are really art wreckers. Listening to an art historian we feel sick, he said, by listening to an art historian we see the art he is twaddling about being ruined, with the twaddle of the art historian art shrivels and is ruined. Thousands, indeed tens of thousands of art historians wreck art by their twaddle and ruin it, he said. The art historians are the real killers of art, if we listen to an art historian we participate in the wrecking of art, wherever an art historian appears art is wrecked, that is the truth.”
Thomas Bernhard, Old Masters: A Comedy

Elizabeth Kostova
“A shame that these images had become iconic, a tune we were all tired of humming.”
Elizabeth Kostova, The Swan Thieves

Wendy Beckett
“Eccentric and secret genius that he was, Bosch not only moved the heart, but scandalized it into full awareness. The sinister and monstrous things that he brought forth are the hidden creatures of our inward self-love: he externalizes the ugliness within, and so his misshapen demons have an effect beyond curiosity. We feel a hateful kinship with them. The Ship of Fools is not about other people. It is about us.”
Wendy Beckett, The Story of Painting

Hans Ulrich Obrist
“I have always believed that it is the artist who creates a work, but a society that turns it into a work of art. - Johannes Cladders”
Hans Ulrich Obrist, A Brief History of Curating: By Hans Ulrich Obrist

Elizabeth Catlett
“‎I was born in the US and l have lived in Mexico since 1946. I believe that all these states of being have influenced my work and made it what you see today. I am inspired by Black people and Mexican people, my two peoples. My art speaks for both my peoples”
Elizabeth Catlett, Elizabeth Catlett: An American Artist in Mexico

“The artists of this nation - state are, taken as one historical subject, one of 'latecomers' to the smorgasbord of the artistic pantheon.Even if Sweden as a nation-state thus seems to have been excluded from the world art history its contemporary arts infrastructure presently makes the country a much more vital place of production.”
Charlotte Bydler

George Pratt
“We lost Klimmt, Schiele and Moll”
George Pratt, Enemy Ace: War Idyll

“[...] a familiar art historical narrative [...] celebrates the triumph of the expressive individual over the collective, of innovation over tradition, and autonomy over interdependence. [...] In fact, a common trope within the modernist tradition of the nineteenth and early twentieth centuries involved the attempt to reconstruct or recover the lost ideal of an art that is integrated with, rather than alienated from, the social. By and large, however, the dominant model of avant-garde art during the modern period assumes that shared or collective values and systems of meaning are necessarily repressive and incapable of generating new insight or grounding creative praxis.”
Grant H. Kester, The One and the Many: Contemporary Collaborative Art in a Global Context

“The notion of displacement destabilizes spatial hierarchies of senders and receivers, and turns the issue of historical causality into one or more negotiable genealogy and interpretative communities.”
Charlotte Bydler

Ben Aaronovitch
“I suppose you're happy now you've got your statue."
"It's a very special statue," I said.
Only it wasn't really, at least not in and of itself. It depicted the ever-popular "Venus-Aphrodite surprised by a sculptor and struggling to cover her tits with one hand and keep her drape at waist height with the other" so beloved of art connoisseurs in the long weary days before the invention of internet porn.”
Ben Aaronovitch, Whispers Under Ground

“The notions of hybridity, metissage, cosmopolitanism have been deployed and reworked in order to capture the polycentric and polysemic aspects of these new configurations.”
Okwui Enwezor

“So what's the point of longing for a new, monumental category hidden somewhere in the non-Western discourse? On the contrary, shouldn't we emphasize that Western art historical thinking has not necessarily to be regarded as monumental? This would be a good condition for dialogue with scholars who are not (or do not want to be) affiliated with "our" tradition.”
Ralph Ubl

“The most frequently cited artists and curators travel extensively and there is a real difference in saying whether concepts and other contributions to the current contemporary arts agenda bear a recognizable cultural, or even national, identity.”
Charlotte Bydler

Sverker Sörlin
“The homage paid to the fragment and the dismantling of the large narratives had had their spatial counterpart in the lack of integrated and conceptual vision of urban construction, and perhaps also of social construction.”
Sverker Sörlin

Sverker Sörlin
“It is a story of utopian dreams and belief in the future, but also one that involves a critique of modernity.”
Sverker Sörlin

John Berger
“It is a mistake to think of publicity supplanting the visual art of post-Renaissance Europe; it is the last moribund form of that art.”
John Berger, Ways of Seeing

Ilya Repin
“I love art more than virtue, more than people, more than people, more than family, more than friends, more than any kind of happiness or joy in life. I love it secretly, jealously, like an old drunkard - incurably.”
Ilya Repin

Robert M. Edsel
“No age lives entirely alone; every civilisation is formed not merely by its own achievements but by what it has inherited from the past."
— British Major Ronald Balfour of the Monuments Men”
Robert M. Edsel, The Greatest Treasure Hunt in History: The Story of the Monuments Men

Drema Drudge
“The Arts are sisters to the senses.”
Drema Drudge, Victorine

“Some feminist artists have chosen a fundamentally sexual or erotic imagery... Others have opted for a realist or conceptual celebration of female experience in which birth, motherhood, rape, maintenance, household imagery, windows, menstruation, autobiography, family background and portraits of friends figure prominently...”
Lucy Lippard

Arthur C. Danto
“I do not think it possible to convey the moral energy that went into this division between abstraction and realism, from both sides, in those years. It had an almost theological intensity, and in another stage of civilization there would certainly have been burnings at stake.”
Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History

Sheila Heti
“The professor's voice was amplified with her mike. 'In the nineteenth century... artists were compelled by the idea of the sublime, which was the most elevated expression of the harmony between nature and man. By contemplating nature, a figure like this one on the mountaintop would be inspired with reverence for the majesty of what God created--both humbled by it and also elevated by it because he, as a witness and an observer, had a privileged relation to all of creation--both of it and standing outside it to contemplate it. It was through contemplating nature that one would gain this experience of the sublime, so you tend to find in pictures from this time--' Slide changed. '--this theme repeated: the untamed and overwhelming power and beauty of nature, and the witness to it, somewhere in the painting, a stand-in for the viewer and the painter....”
Sheila Heti, How Should a Person Be?

Michael Camille
“Compared to the routine, more coarse, carving of the Apostles and Elders, the monstrous rout seems to have been produced by a more expert sculptor, suggesting a scale of value that did not elevate the Divine archetype over the debased animal.”
Michael Camille, Image on the Edge: The Margins of Medieval Art

“Devotional images require devotion: that is the bottom line. Without the patience to live with such a painting, it remains silent. And what is art history in this respect, if not a typically impatient academic pursuit? Its practitioners are constantly fluttering from one image to the next, anxious for intellectual nourishment. The flood of tears that swept over central and western European painting in the fourteenth and fifteenth centuries will probably always be a desert for people who move too fast. These are slow paintings, suffused with dull, slow-acting passions.”
Elkins James

“Keep chippin' away at that marble block until it becomes a statue”
Young Langston

“Governments, as we have seen, look to art as a social salve, and hope that socially interactive art will act as bandaging for the grave wounds continually prised open by capital.”
Julian Stallabrass, Contemporary Art: A Very Short Introduction

“I have wound my way through a jungle of lies and am on the track of only half the truth. In China, nobody gets to know the whole truth.”
Friedrich Perzynski

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