Art × Reason

Art and Reason

Browse 30 quotations catalogued under art with "reason" in the text or topic label.

30 quotes

This collection contains 30 quotations filed under Art with "reason" in the quote text or topic label. These keyword matches offer a starting point for exploring Art and Reason; they do not by themselves establish a shared argument or a historical connection between the authors.

The authors represented include Baruch Spinoza, Arthur Schopenhauer, Nikolai Fyodorovich Fyodorov, Amit Chaudhuri, and others. Read each quotation in its own context rather than assuming that these authors share a position.

One matching quotation reads: "My intention is to give a sense of the grand sweep of literary artists—that is, novelists, poets, and playwrights—reacting through their art to Spinoza's ideas…" The full quotation appears below.

Another matching quotation reads: "Only a male intellect clouded by the sexual drive could call the stunted, narrow-shouldered, broad-hipped and short-legged sex the fair sex…" Compare the wording and surrounding context to decide how each passage relates to your question.

Use the quotation links to explore individual entries and the author links to visit their profiles on QuoteLineage. For broader reading beyond these keyword matches, explore all Art quotes or the concept page for Reason.

30 Quotes on Art and Reason

"My intention is to give a sense of the grand sweep of literary artists—that is, novelists, poets, and playwrights—reacting through their art to Spinoza's ideas. Given the irreconcilability of the approaches and attitudes, it is all but impossible to make a sustained argument concerning Spinoza's literary appeal. If there is an overarching explanation for why this particular philosopher has been so artistically generative, perhaps it lies in what one might call Spinoza's rationalist purity. Nobody has ever made greater claims for the life of pure reason. For some temperaments this is inspiring, for others off-putting. Other philosophers—one thinks particularly of Plato—have influenced important literary artists, but Spinoza seems unique among philosophers in the amount of literary fascination with the man himself."

— Baruch Spinoza

"Only a male intellect clouded by the sexual drive could call the stunted, narrow-shouldered, broad-hipped and short-legged sex the fair sex: for it is with this drive that all its beauty is bound up. More fittingly than the fair sex, women could be called the unaesthetic sex. Neither for music, nor poetry, nor the plastic arts do they possess any real feeling or receptivity: if they affect to do so, it is merely mimicry in service of their effort to please. This comes from the fact that they are incapable of taking a purely objective interest in anything whatever, and the reason for this is, I think, as follows. Man strives in everything for a direct domination over things, either by comprehending or by subduing them. But woman is everywhere and always relegated to a merely indirect domination, which is achieved by means of man, who is consequently the only thing she has to dominate directly. Thus it lies in the nature of women to regard everything simply as a means of capturing a man, and their interest in anything else is only simulated, is no more than a detour, i.e. amounts to coquetry and mimicry."

— Arthur Schopenhauer

"There may be no philosopher in history who has received greater attention in artistic, literary and popular culture than Bento de Spinoza . His life, ideas and influence have been the subject of numerous novels, plays, poems, paintings, sculptures, even musical pieces and opera. His name and his visage have been used in the marketing of various items in the worlds of entertainment, leisure and consumption, from cafés to rock bands to bagels. A relatively simple explanation for Spinoza's unusually high profile outside the walls of academia is at hand. Spinoza was the most radical and iconoclastic thinker of his time. His ideas on religion, politics, ethics, human psychology and metaphysics, presented in difficult and sometimes mystifying treatises, lay the groundwork for much of what we now regard as “modern.” Perhaps most enticing of all, he was excommunicated from the Amsterdam Portuguese-Jewish community as a young man for reasons that remain obscure . Everyone loves a rebel—especially one whose values they likely share and whom, they feel, was unjustly punished by those in power."

— Baruch Spinoza

"If the question, 'What has art become?', is synonymous with 'What are the reasons for the unbrotherliness between people and for the rift in the relations beween nature and people?' then the question, 'What should art be?' is the same as the problem of establishing brotherly unity in order to transform the blind force of nature into a force guided by the reasoning powers of all the resurrected generations. In other words, what we are talking about is universal resurrection, since it is this that represents the complete restoration of kinship and that will provide art with the appropriate course to follow, and show it its goal. Transforming all the worlds into worlds guided by the reasoning powers of resurrected generations will constitute a complete resolution of the Copernican question and is at the same time identical to the primeval view – that is, the patrification of the heavens , or catasterisation – which also finds its expression in church sculpture and painting. For children this primeval view is the most straightforward, an explanation and resolution of the Copernican question. To turn all the worlds into worlds guided by the reasoning powers of resurrected generations is also the most important goal of art."

— Nikolai Fyodorovich Fyodorov

"Calcutta is like a work of modern art that neither makes sense nor has utility, but exists for some esoteric aesthetic reason."

— Amit Chaudhuri

"New York is the publishing center of the nation; it is the art, theater, musical, ballet, operatic center; it is the opinion center; it is the radio center; it is the style center. Hollywood? Hollywood is nothing more than a suburb of the Bronx, both financially and from a view of talent. Politically, socially, in the world of ideas and in the whole world of entertainment, which is a great American industry needless to say, New York sets the tone and pace of the entire nation. What books 140 million Americans will read is largely determined by New York reviewers. Most of the serious newspaper columns originate in or near New York; so do most of the gossip columns, which condition Americans from Mobile to Puget Sound to the same patterns of social behavior. In a broad variety of fields, from serous drama to what you will hear on a jukebox, it is what New York says that counts; New York Opinion is the hallmark of both intellectual and material success; to be accepted in this nation, New York acceptance must come first. I do not assert that this is necessarily a good thing. I say merely that it is true. One reason for all this is that New York, with its richly cosmopolitan population, provides such an appreciative audience. It admires artistic quality. It has a fine inward gleam for talent. Also New York is a wonderfully opulent center for bogus culture. One of its chief industries might be said to be the manufacture of reputations, many of them fraudulent."

— John Gunther

"there was no 'subject-matter'. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or lying down. He became a bather, she became a bather; she was reclining; he just stood there looking ahead. That is when the posing in painting began.. .For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on."

— Willem de Kooning

"If you add something to a painting, never let it be for aesthetic reasons. Only let it be for reasons of expression."

"For the painter, for whom painting is a vital activity and a way of life — not merely a profession — such attitudes as we find in the histories are deadly. For him the only benefit, at least the deepest and most important benefit, which he can get from the study of the Masters comes from his capacity to see the painting in a thoroughly contemporary way. I mean in the present tense — the tense after all in which it was painted. Not for instance as an early this or a late that, nor as a good example of chiaroscuro or some other aesthetic or technical quality but as an immediately important human statement completely relevant to his life at the moment and convincing for that reason. If a work does not strike the painter in this way all further analysis of it will be futile."

— Patrick Swift

"Prokofiev’s creative path traversed many countries and was affected by wars and revolutions. Life brought him into contact with some of the most prominent and influential artistic figures of his time. Observing the magnificent panorama of Prokofiev’s oeuvre, one sees that the composer’s musical style evolved significantly over the course of his creative life. The reasons for the changes of direction have been much discussed and debated."

— Boris Berman

"Totalitarian art must be a form of classicism: the state which is founded on order and subordination demands an art with a similar basis. Romantic painting, however popular, expresses the revolt of the individual. The State also requires an art of reason by which appropriate works may be produced as required. Inspiration is outside state control. The classic attitude toward subject matter — that it should be clear and unequivocal — supports the attitude of unquestioning belief. Add the fact that totalitarian art must be real enough to please the ignorant, ideal enough to commemorate a national hero, and well enough designed to present a memorable image, and one sees how perfectly The Death of Marat fills the bill. That it happens also to be a great work of art makes it dangerously misleading."

— Kenneth Clark

"Before the blank canvas, the unrealized work, completely in the artist’s head, must seem to him equal to the greatest. To say that which has never been said – is the reason for all artistic work. But only outside of the work should the artist worthily get down on his knees before the great artists of the past.. .Rembrandt in our days would be Rembrandt again, because the work of the master is his self. But in order to be Rembrandt in our days, he would have used new ways that would give a new culture."

— Marianne von Werefkin

"The military art is not an accomplishment, an art for dilettante, a sport. You do not make war without reason, without an object, as you would give yourself up to music, painting, hunting, lawn tennis, where there is no great harm done whether you stop altogether or go on, whether you do little or much. Everything in war is linked together, is mutually interdependent, mutually interpenetrating. When you are at war you have no power to act at random. Each operation has a raison d'etre, that is an object; that object, once determined, fixes the nature and the value of the means to be resorted to as well as the use which ought to be made of the forces."

— Ferdinand Foch

"There's absolutely no difference between the greatest painting ever made and a joke. It's just something someone invented that someone else likes! That's art. And it has no reason to exist, except its own virtue."

— Jerry Seinfeld

"If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea . Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there , but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived."

— Wassily Kandinsky

"I have always said that you do not see a thing until you look away from it. In other words, an object or a fact in nature has not become itself until it has been projected in the realm of the imagination. Therefore what has been retained in the mind’s eye is what lives. I have seldom or never worked from nature for this reason and so what I see is what I believe to be true, and that becomes the truism of the creative artist."

— Marsden Hartley

"Islam is one of the world's great religions. Let me be explicit about what I, as a historian of Islam who is not a Muslim, mean by that. Islam has brought comfort and peace of mind to countless millions of men and women. It has given dignity and meaning to drab and impoverished lives. It has taught people of different races to live in brotherhood and people of different creeds to live side by side in reasonable tolerance. It inspired a great civilization in which others besides Muslims lived creative and useful lives and which, by its achievement, enriched the whole world. But Islam, like other religions, has also known periods when it inspired in some of its followers a mood of hatred and violence. It is our misfortune that part, though by no means all or even most, of the Muslim world is now going through such a period, and that much, though again not all, of that hatred is directed against us."

— Bernard Lewis

"If the young are watched too closely, if they are kept habitually under surveillance, the spring of action is weakened, the power of initiative is destroyed, and they become mediocre, commonplace, mechanical men and women, from whom nothing excellent or distinguished may be expected. Parents and teachers … must so deal with the young as to bring them little by little under the control of reason and conscience; and in this, nothing thwarts more surely than excessive supervision, for it draws attention from the inner view and voice to the eyes of the watchers. It may cultivate a love of decency and propriety, but not the creative feeling that we live with God and that righteousness is life."

— John Lancaster Spalding

"By now it has become a formula to attach new ideas on the grounds of extremism and unintelligibility. Every phase of modern art has in turn been attacked on these grounds, until the new phase became acceptable. Although the present attacks are focused on those who emphasize the subjective side of abstract painting, the threat to other sections of the modern painting is implicit. The attacks are always focused on those who are considered the black sheep, for reasons of non-conformity. They are conspicuous, because they are different, and therefore may be easy targets."

— Adolph Gottlieb

"True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero — really look — and he turns into a gerbil. But you look at Apollo, and he looks back at you. The poet Rilke looked at a statue of Apollo about fifty years ago, and Apollo spoke to him. “You must change your life,” he said. When true myth rises into consciousness, that is always its message. You must change your life."

— Ursula K. Le Guin

"I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that."

"he tendency of growing civilisation on the national scale has been more and more to divert the struggle for life from a struggle with other nations to a struggle with environment, and so to utilise the fruits of reason as to divert a larger and larger proportion of energy to struggles for intellectual, moral, and aesthetic goods rather than for goods which tax the powers of the earth, and which, conforming to the law of diminishing returns, are apt to bring them into conflict with other nations."

— J. A. Hobson

"…The reason I write the plays is to open up some sort of dialogue or just to have this in the conversation. I mean what I would love is to have the guy—the Republican who thinks that the only issue is keeping brown people away—he is my ideal audience. That's who I would love to have in the audience. So I get a little bit tripped up because, on one hand, I want plays that my family can go to. You don't have to be an artistic person. You can go in and actually get something from it."

— Matthew Paul Olmos

"One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic to another aspect of the creative works of the time, i.e. spectator participation."

— Frank Popper

"So one crazy analogy to how my morality might turn out to work, and the big point here is I don't know how my morality works, is we have a painting and the painting is very beautiful. There is some crap on the painting. Would I like the crap cleaned up? Yes, very much. That's like the suffering that's in the world today. Then there is making more of the painting, that's just a strange function. My utility with the size of the painting, it's just like a strange and complicated function. It may go up in any kind of reasonable term that I can actually foresee, but flatten out, at some point. So to see the world as like a painting and my utility of it is that, I think that is somewhat of an analogy to how my morality may work, that it's not like there is this linear multiplier and the multiplier is one thing or another thing. It's: starting to talk about billions of future generations is just like going so far outside of where my morality has ever been stress-tested. I don't how it would respond. I actually suspect that it would flatten out the same way as with the painting."

— Holden Karnofsky

"You can decide what you want to eat for dinner, you can decide to go away for the weekend, and you can decide what clothes you’re going to wear in the morning, but when it comes to artistic things, there’s never a rhyme or reason. It’s, like, they just happen. And they happen when they happen."

"I had more flow as a designer. I could just drop down into the zone and stay there for hours. With cartooning, I'm constantly coming up for air, procrastinating, looking for reasons not to be doing it. I spend all day granting myself special dispensation, with 'creative process' as my cover story. Carpenters and deli countermen can't do that, so I think they may feel better about themselves at the end of the day."

— Garry Trudeau

"Art is the reason I get up in the morning, but the definition ends there. It doesn't seem fair that I'm living for something I can't even define."

— Ani DiFranco

"Opinion in all parts of the world would agree that Rachmaninoff is the most complete of living masters of the instrument; his technique is comprehensive, and he is, of course, musical to his bone's marrow. Most important of all, he is a composer, and for this reason he is able to approach a work as none of his pianist contemporaries can approach one – that is, from the inside, as an organic and felt creative process."

— Sergei Rachmaninoff

"It is clear that the building of models is not a purely mechanical process but requires skill of a high order – not merely mathematical skill but a sensitivity to the relative importance of different factors and a critical, almost an artistic, faculty in the selection of behaviour equations which are reasonable, tentative hypotheses in explaining the behaviour of actual economies."

— Kenneth Boulding

Key thinkers on this theme

Baruch Spinoza· Philosophy Arthur Schopenhauer· Philosophy Nikolai Fyodorovich Fyodorov· Philosophy Amit Chaudhuri· Literature John Gunther· Journalism

Related ideas in Art

All Art quotes Explore the idea of Reason