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Read through the most famous quotes by topic #art
On the one hand, it is in and through creative minds that the community fulfils itself at its best and reaches its highest forms; and on the other, it is from them that the community recovers the social substance with which it had nourished them, transfigured by their creative alchemy into a still higher social substance. The creative evolution of his community and his own creative evolution must always be the two earnest purposes of the individual. Its own creative evolution and that of the individuals in its midst must always be the two earnest purposes of the community. ↗
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There are numerous biographies of Woolf. Biography has been highly influential in shaping the reception ofWoolf ’s work, and her life has been as much debated as her writing. I would recommend the following three which represent three different biographical contexts and a range of positions on Woolf ’s life: Quentin Bell’s Virginia Woolf: A Biography (1972), Hermione Lee’s Virginia Woolf (1996), and Julia Briggs’s Virginia Woolf: An Inner Life (2005). There is no one, true biography of Woolf (as, indeed, there cannot be of any subject of biography), but these three mark important phases in the writing and rewriting of Woolf ’s life. Hot debate continues over how biographers represent her mental health, her sexuality, her politics, her suicide, and of course her art, and over how we are to understand the latter in relation to all the former points of contention. ↗
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She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts if family life. She sacrificed herself daily. If there was chicken, she took the led; if there was a draft she sat in it-- in short she was so constituted that she never had a mind or wish of her own, but preferred to sympathize always with the minds and wishes of others... I did my best to kill her. My excuse, if I were to be had up in a court of law, would be that I acted in self defense. Had I not killed her, she would have killed me. ↗
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Most of the makers of the twentieth-century mind, figures such as Freud, Heisenberg, Picasso, Joyce, and Eliot, have in common an about-face on the subject-object question and the mindmatter question; they all reject the dualism that arbitrarily and irreversibly splits the world into pieces. This rejection of dualism and the corresponding reach for monism are of the essence in understanding the revolutionary nature of twentieth-century science and art. ↗
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How they are all about, these gentlemen In chamberlains' apparel, stocked and laced, Like night around their order's star and gem And growing ever darker, stony-faced, And these, their ladies, fragile, wan, but propped High by their bodice, one hand loosely dropped, Small like its collar, on the toy King-Charles: How they surround each one of these who stopped To read and contemplate the objects d'art, Of which some pieces still are theirs, not ours. Whit exquisite decorum they allow us A life of whose dimensions we seem sure And which they cannot grasp. They were alive To bloom, that is be fair; we, to mature, That is to be of darkness and to strive. ↗
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. ↗
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