The Agony and the Ecstasy Quotes

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The Agony and the Ecstasy The Agony and the Ecstasy by Irving Stone
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The Agony and the Ecstasy Quotes Showing 1-30 of 47
“Talent is cheap; dedication is expensive. It will cost you your life.”
Irving Stone, The Agony and the Ecstasy
“One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.”
Irving Stone, The Agony and the Ecstasy
“It's freezing up here. What did you use to keep warm?"
"Indignation," said Michelangelo. "Best fuel I know. Never burns out.”
Irving Stone, The Agony and the Ecstasy
“To try to understand another human being, to grapple for his ultimate depths, that is the most dangerous of human endeavors.”
Irving Stone, The Agony and the Ecstasy
“He had always loved God. In his darkest hours he cried out, "God did not create us to abandon us.”
Irving Stone, The Agony and the Ecstasy
“We...believe that art is religious, because it is one of man's highest aspirations. There is no such thing as pagan art, only good and bad art.”
Irving Stone, The Agony and the Ecstasy: A Biographical Novel of Michelangelo
“The most perfect guide is nature. Continue without fail to draw something every day.”
Irving Stone, The Agony and the Ecstasy
“An artist without ideas is a mendicant; barren, he goes begging among the hours.”
Irving Stone, The Agony and the Ecstasy
“No man is born into the world whose work is not born with him.”
Irving Stone, The Agony and the Ecstasy
“Drawing is the poet's written line, set down to see if there be a story worth telling, a truth worth revealing.”
Irving Stone, The Agony and the Ecstasy
“Listen, my friend, all forms that exist in God's universe can be found in the human figure. A man's body and face can tell everything he represents. So how could I ever exhaust my interest in it?”
Irving Stone, The Agony and the Ecstasy
“What meaning has a compliment if one hears it night and day.”
Irving Stone, The Agony and the Ecstasy
“What we know of others is our personal secret.”
Irving Stone, The Agony and the Ecstasy
“Bleed me of art, and there won't be enough liquid left in me to spit! [Michelangelo Buonorotti]”
Irving Stone, The Agony and the Ecstasy
“He had never believed that spirituality had to be anemic or aesthetic.

Irving Stone, The Agony and the Ecstasy: A Biographical Novel of Michelangelo
“...and rout the magical mystical moonlight with fierce proof of its own greater power to light, to heat, to make everything known.”
Irving Stone, The Agony and the Ecstasy
“We are giving the world back to man, and man back to himself. Man shall no longer be vile, but noble. We shall not destroy his mind in return for an immortal soul. Without a free, vigorous and creative mind, man is but an animal, and he will die like an animal, without any shred of a soul. We return to man his arts, his literature, his sciences, his independence to think and feel as an individual, not to be bound to dogma like a slave, to rot in his chains.”
Irving Stone, The Agony and the Ecstasy
“It's pleasant to get used to the expensive, the soft, the comfortable. Once you're addicted, it's so easy to become a sycophant, to trim the sails of your judgment in order to be kept on. The next step is to change your work to please those in power, and that is death to the sculptor.”
Irving Stone, The Agony and the Ecstasy
“The sculptor is master of time; he can change his subjects forward or back.”
Irving Stone, The Agony and the Ecstasy
“He believed that every individual was responsible for his conduct on earth, that there was a judge within. Could even a blazingly Christ inflict greater retribution? Could Dante's Charon in his rowboat on the river Acheron whip the miscreants into a deeper, more everlasting hell than man's unvarnished verdict of himself?”
Irving Stone, The Agony and the Ecstasy
“It was like penetrating deep into white marble with the pounding live thrust of
his chisel beating upward through the warm living marble with one ”Go!”, his whole body behind the heavy hammer, penetrating through ever deeper and deeper furrows of soft yielding living substance until he had reached the explosive climax, and all of his
fluid strength, love, passion, desire had been poured into the nascent form, and the marble block, made to love the and of the true sculptor, and responded, giving of its inner heat
and substance and fluid form, until at last the sculptor and the marble had totally coalesced, so deeply penetrating and infusing each other that they had become one, marble and man and organic unity, each fulfilling the other in the greatest act of art and love known to the human species.”
Irving Stone, The Agony and the Ecstasy
“A new doctor had been sent for, Lazzaro of Pavia, who had administered to Lorenzo a pulverized mixture of diamonds and pearls. This hitherto infallible medicine had failed to help.”
Irving Stone, The Agony and the Ecstasy
“From this vantage point he came to a realization that everything that had happened to him before this had been a journey upward through time, everything that occurred after it a descent. If he could not control his fate, why be born?”
Irving Stone, The Agony and the Ecstasy
“His sculpture would have joy in it, try to capture the sense of fertility of Dionysus, the nature god, the power of the intoxicating drink that enabled a man to laugh and sing and forget for a while the sorrow of his earthly miseries. And then, perhaps, at the same time he could portray the decay that came with too much forgetfulness, that he saw all around him, when man surrendered his moral and spiritual values for the pleasures of the
flesh. The Bacchus would be the central figure of his theme, a human being rather than a demigod; then there would be a child of about seven, sweet-
faced, lovable, nibbling from a bunch of grapes. His composition would have death in it too; the tiger, who liked wine and was loved by Bacchus, with the deadest, dead skin and head conceivable”
Irving Stone, The Agony and the Ecstasy
“How could he have been so stupid, so blind? David pictured after Goliath could be no one but the biblical David, a special individual. He was not content to portray one man; he was seeking universal man, Everyman, all of whom,from the beginning of time,
had faced a decision to strike for freedom”
Irving Stone, The Agony and the Ecstasy
tags: david
“Lorenzo il Magnifico, the Plato Four, the humanists had taught him that man was the center of the universe; and this was never more demonstrable that when he stood looking upward and found himself, a lone individual, serving as the central pole holding up the tarpaulin of sun and clouds, moon and stars, knowing that, lone or abandoned as he might feel, without his support the heavens would fall.”
Irving Stone, The Agony and the Ecstasy
“L'arte è fatta per coloro che si sente indegno senza di essa.”
Irving Stone, The Agony and the Ecstasy
“What went through the mind of Christ between the sunset hour when the Roman
soldier drove the first nail through his flesh, and the hour when he died? For these thoughts would determine not only how he accepted his fate, but
also the position of his body on the cross. Donatello’s Christ accepted in serenity, and thought nothing. Brunelleschi’s Christ was so ethereal that he died at the first touch of the nail, and had no time to think.
He returned to his workbench, began exploring his mind with charcoal and ink. On Christ’s face appeared the expression, “I am in agony, not from the iron nails, but form the rust of doubt.” He could not bring himself to convey Christ’s divinity by anything so obvious as a halo; it had to be portrayed through an inner force, strong enough to conquer his misgivings at this hour of severest trial.
It was inevitable that his Christ would be closer to man than to God. He did not know that he was to be crucified. He neither wanted it nor liked it. And as a result his body was twisted in conflict, torn, like all men, by inner
questioning.
When he was ready to begin carving he had before him a new concept: he turned
Christ’s head and knees in opposite directions, establishing through his contrapuntal design a graphic tension, the intense physical and spiritual
inner conflict of a man who is being pulled two ways.”
Irving Stone, The Agony and the Ecstasy
“That was how his pen finally designed his sculpture; in the center the weak,
confused, arrogant, soon to be destroyed young man holding cup a loft, behind him the idyllic child, clear-eyed, munching his grapes, symbol of joy
; between them the tiger skin. The Bacchus, hollow within himself, flabby, reeling, already old; the Satyr,
eternally young and gay, symbol of man’s childhood and naughty innocence”
Irving Stone, The Agony and the Ecstasy
“He turned, stood above the crowd gazing up at him. There was silence in the
square. And yet he had never felt such complete communication. It was as though they read each other’s thoughts, as though they were one and the same: they were part of him,every Florentine standing below, eyes turned up to him, and he was a part of them.”
Irving Stone, The Agony and the Ecstasy
tags: david

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