Design in art, is a recognition of the relation between various things, various elements in the creative flux. You can't invent a design. You recognize it, in the fourth dimension. That is, with your blood and your bones, as well as with your eyes.
Mrs Joe was a very clean housekeeper, but had an exquisite art of making her clenliness more umcomfortable and unacceptable than dirt itself. Cleanliness is next to godliness, and some people do the same by their religion.
Behind all art is an element of desire...Love of life, of existence, love of another human being, love of human beings is in some way behind all art — even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?
Have not Manet and Monet, Cézanne and Matisse, rendered to painting something of the same service which Keats and Shelley gave to poetry after the solemn and ceremonious literary perfections of the eighteenth century? They have brought back to the pictorial art a new draught of joie de vivre; and the beauty of their work is instinct with gaiety, and floats in sparkling air. I do not expect these masters would particularly appreciate my defence, but I must avow an increasing attraction to their work.
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
A Classical style... is the syllogism of art, the only legitimate process from one world to another. Classicism is not the manner of any fixed age or of any fixed country; it is a constant state of the artistic mind. It is a temper of security and satisfaction and patience.
It is a pity to make a mystery out of what should most easily be understood. There is nothing occult about the thought that all things maybe made well or made ill. A work of art is a well-made thing - that is all. It may be a well-made statue of a well-made chair or a well-made book. Art is not a special sauce applied to ordinary cooking; it is the cooking itself that is good. Most simply and generally, Art may be thought of as "The Well Doing of What Needs Doing."
Virtue is as little to be acquired by learning as genius; nay, the idea is barren, and is only to be employed as an instrument, in the same way as genius in respect to art. It would be as foolish to expect that our moral and ethical systems would turn out virtuous, noble, and holy beings, as that our aesthetic systems would produce poets, painters, and musicians.
How much we forgive to those who yield us the rare spectacle of heroic manners! We will pardon them the want of books, or arts, and even of gentler virtues. How tenaciously we remember them!
The art of decoration requires the most sophisticated and self-indulgent skills. Its aim has always been to sate the senses as gloriously as possible. ... ornament is not only a source of sensuous pleasure; it supplies a necessary kind of magic to people and places that lack it. More than just a dread of empty spaces has led to the urge to decorate; it is the fear of empty selves.
No generation is interested in art in quite the same way as any other; each generation, like each individual, brings to the contemplation of art its own categories of appreciation, makes its own demands upon art, and has its own uses for art.