A Work of Art Is the Unique Result of a Unique Temperament
„A work of art is the unique result of a unique temperament. Its beauty comes from the fact that the author is what he is. Information technology has cypher to do with the fact that other people want what they want. Indeed, the moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a tedious or an agreeable craftsman, an honest or a quack tradesman. He has no further claim to be considered every bit an artist."
The Soul of Human being Under Socialism (1891)
Adopted from Wikiquote. Last update June iii, 2021.
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„The people itself ( and I practise not mean the 'masses') has e'er given art its essential way. The creative person merely clarifies and fullfils the will of the people. Only when the people does not know what information technology wants, or worst of all, wants nothing.... then its artists, driven to seeking their own forms, remain isolated, and become martyrs... Folk art – that is, the feeling of people for creative form – can arise once more but when the whole jumble of worn-out art concepts of the nineteenth century has been wiped from the memory of generations."
— Franz Marc German painter 1880 - 1916
Max Beckmann's stance on this result you find in: 'Quotes About Franz Marc', below
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445-446
„He has lost organized religion in the political ability of the feet and of the tongue. As a result, what he wants is not more than liberty as a citizen merely better service every bit a client. He does not insist on his liberty to motion and to speak to people merely on his claim to be shipped and to exist informed by media. He wants a better product rather than freedom from servitude to it. It is vital that he come up to see that the dispatch he demands is self-defeating, and that it must result in a farther reject of equity, leisure, and autonomy."
— Ivan Illich, book Energy and Equity
"Energy and Disinterestedness" (1974).
Context: The habitual rider cannot grasp the folly of traffic based overwhelmingly on transport. His inherited perceptions of space and time and of personal pace accept been industrially deformed. He has lost the power to conceive of himself outside the rider role. Fond to being carried along, he has lost control over the physical, social, and psychic powers that reside in man's feet. The passenger has come to identify territory with the untouchable landscape through which he is rushed. He has become impotent to constitute his domain, mark it with his imprint, and affirm his sovereignty over it. He has lost conviction in his power to admit others into his presence and to share space consciously with them. He can no longer face up the remote by himself. Left on his own, he feels immobile.
The habitual passenger must adopt a new gear up of beliefs and expectations if he is to feel secure in the strange globe where both liaisons and loneliness are products of conveyance. To "assemble" for him means to be brought together by vehicles. He comes to believe that political power grows out of the capacity of a transportation system, and in its absenteeism is the result of admission to the goggle box screen. He takes liberty of movement to be the same equally one's claim on propulsion. He believes that the level of democratic procedure correlates to the ability of transportation and communications systems. He has lost faith in the political power of the feet and of the natural language. Every bit a result, what he wants is non more than liberty as a citizen just amend service every bit a customer. He does not insist on his freedom to move and to speak to people but on his claim to exist shipped and to exist informed by media. He wants a better production rather than liberty from servitude to it. It is vital that he come to see that the acceleration he demands is cocky-defeating, and that information technology must event in a further decline of equity, leisure, and autonomy.
„An individual who has to brand things for the use of others, and with reference to their wants and their wishes, does not piece of work with involvement, and consequently cannot put into his work what is best in him. Upon the other manus, whenever a customs or a powerful department of a customs, or a regime of whatsoever kind, attempts to dictate to the artist what he is to do, Art either entirely vanishes, or becomes stereotyped, or degenerates into a depression and ignoble grade of craft."
— Oscar Wilde, volume The Soul of Man under Socialism
The Soul of Man Nether Socialism (1891)
„Fine art is not for the personal satisfaction of one or the other, but art wants to return all what'due south in life… Art wants to give back everything what'south in our lives. The more comprehensive the artist stands in life the more powerful his work will speak, and therefore a piece of work of art is a measure out of the mental size of his creator."
— Bram van Velde Dutch painter 1895 - 1981
Alphabetic character to H. E. Kramer, 25-10-1926, every bit quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 44 (English translation: Charlotte Burgmans)
1920's
„…What people miss almost (Marilyn) Manson is that he is just reflecting, he'south an creative person, people desire to focus that free energy on him, but it'southward not really him, it's actually about you. And then for every guy sitting there with a beer and a.45 in his belt, Manson is simply speaking to that end of society. He'southward speaking every bit an artist. He's not speaking every bit himself, and that'south where people get really lost with Manson."
— Billy Corgan American musician, songwriter, producer, and author 1967
Corgan, William. Interview. 1998 Pre-Grammy Show. MTV. 25 February 1998.
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