I have lived among enough painters and around studios to have had all the theories - and how contradictory they are - rammed down my throat. A man has to have a gizzard like an ostrich to digest all the brass-tacks and wire nails of modern art theories.
Let art, then, imitate nature, find what she desires, and follow as she directs. For in invention nature is never last, education never first; rather the beginnings of things arise from natural talent, and ends are reached by discipline.
We want to answer this classical question, who am I? So I think that most of our works are for art, or whatever we do, including science or religion, tried to answer that question.
Thinking is seeing.... Every human science is based on deduction, which is a slow process of seeing by which we work up from the effect to the cause; or, in a wider sense, all poetry like every work of art proceeds from a swift vision of things.
That, chang'd thro' all and yet in all the same, Great in the Earth as in th' Ætherial frame, Warms in the Sun, refreshes in the Breeze, Glows in the Stars, and blossoms in the Trees... Breathes in our soul, informs our mortal part... Submit - in this, or any other Sphere, Secure to be as blest as thou canst bear. All Nature is but Art, unknown to thee; All Chance, Direction which thou canst not see; All Discord, Harmony not understood... All partial Evil, universal Good.
I love Love - though he has wings,
And like light can flee,
But above all other things,
Spirit, I love thee -
Thou art love and life! Oh come,
Make once more my heart thy home.
The perennial architectural debate has always been, and will continue to be, about art versus use, visions versus pragmatism, aesthetics versus social responsibility. In the end, these unavoidable conflicts provide architecture's essential and productive tensions; the tragedy is that so little of it rises above the level imposed by compromise, and that this is the only work most of us see and know.
The dream of the news is that it makes us care about other people and situations. But we cannot identify with people to whom we haven't been introduced. Humans will only respond to art, to people who are skilled in making you care.
To see the butcher slap the steak before he laid it on the block, and give his knife a sharpening, was to forget breakfast instantly. It was agreeable too - it really was - to see him cut it off so smooth and juicy. There was nothing savage in the act, although the knife was large and keen; it was a piece of art, high art; there was delicacy of touch, clearness of tone, skilful handling of the subject, fine shading. It was the triumph of mind over matter; quite.
Especially for people of our generation, who really celebrated certain attitudes - the outsider, the loner - it can have a real impact on the art when they realize, I have friends, I'm married, or I have kids. That's certainly happened to me.
I taught a lot of art history, especially Chinese, Japanese, and Indian. But the painting classes came back. The nudes came back. Not so much the still lifes. So now our department is the worst department, partly because it has the worst facilities.