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Science is out of the reach of morals, for her eyes are fixed upon eternal truths. Art is out of the reach of morals, for her eyes are fixed upon things beautiful and immortal and ever-changing.
Abstract art is uniquely modern. It is a fundamentally romantic response to modern life - rebellious, individualistic, unconventional, sensitive, irritable.
They say rock is dead. Andy [Warhol] said art is dead. God is dead according to Nietzsche. If everything's dead what's alive? Only technology. We're in the era of technology.
San Francisco itself is art, above all literary art. Every block is a short story, every hill a novel. Every home a poem, every dweller within immortal. That is the whole truth.
Inspiration may be a form of superconsciousness, or perhaps of subconsciousness - I wouldn't know. But I am sure it is the antithesis of self-consciousness.
Art comes out of art; it begins with imitation, often in the form of parody, and it's in the process of imitating the voice of others that one comes to learn the sound of one's own.
And the thing that I always tried to do with important singers when I met them was to sit down and record everything they knew, give them a first real run-through of their art.
On the ridge where the great artist moves forward, every step is an adventure, an extreme risk. In that risk, however, and only there, lays the freedom of Art.
The artist needs but a roof, a crust of bread, and his easel, and all the rest God gives him in abundance. He must live to paint and not paint to live.
My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.
Every art and every inquiry, and similarly every action and pursuit, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim.