Browsing Topic Best Art History Quotes

I love art, my mother is a painter, I majored in art history at Wellesley, and as I was having my second child I was thinking, what am I going to do, I have to do something to keep myself sane, and I began to ask myself, what are the most horrific circumstances under which art can be created?

The aim of art is to represent not the outward appearance of things, but their inward significance.

I come from an art history background. I studied at a master’s degree level; I chose to dork out on art for much of my adult life. A lot of my heroes are artists and a lot of my musical heroes have an artistic side.

History is too slow for our life, for our hearts.

I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. Its the most radical thing.

The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.

I learned more from my mother than from all the art historians and curators who have informed me about technical aspects of art history and art appreciation over the years.

Men, not only in Turkish society but everywhere, have been the bosses in terms of creation. If you look at art history, women were the objects. The fact that it’s not been made by women means that the subjects are not women.

In the ‘Garnethill’ trilogy, people always forget that Maureen O’Donnell’s dad was a journalist and she did art history at uni and her brother did law, but no-one ever thinks they’re middle-class – they’re just working class because they speak with accents.

For me, art history is like a feather bed – you fall into it and it catches you.

I went to college to be a jock and to play on the baseball team. And then, I got cut and realized that that was it for that. I was really small. The other guys were really big, on that team. I was a bit of a theater nerd, and I was an art history major.

Lacan is a tyrant who must be driven from our shores. Narrowly trained English professors who know nothing of art history or popular culture think they can just wade in with Lacan and trash everything in sight.

You know, the way art history is taught, often there’s nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.

The term ‘Pre-Raphaelite’ is in danger of becoming one of the most misused tags in art history

I studied anthropology and art history, as I have always been captivated by living traditions.

I have a strong art-history background.

I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.

I was born in a suburb outside of Philadelphia called Lower Merion. After taking many leaves of absence, I just received my BA from NYU in Art History. I initially gravitated towards singing. Acting sort of sprang out of that as a means to participate in musicals.

Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.

Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You’re taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that’s real, that’s really happening, and render this celluloid sculpture of this real thing. That’s what really separates the power of doc filmmaking from fiction.

Becoming emancipated at 14, my life wasn’t normal. I didn’t have to go to school, so I didn’t. I was rebellious by nature. I spent my 20s focusing on my company, Flower Films, and producing movies. Now that I’m almost 30, I would like to try other things in lie. I’m crazy about photography, and I want to take an art history class.

Drawing is not what you see but what you must make others see.

I wanted to go into art history. Acting fell into my lap when a neighbor took pictures of me and showed them to an agent.

The contest between form and content is what, is what art is about – it’s art history. That’s what basically everybody has ever contended with. The problem is uniquely complex in still photography.

I like art history and art criticism. Leo Steinberg has always been my favorite. Hes very original, very accurate and acute.

I always try to have a book on hand, traveling is an excellent way of providing perspective, and studying Art History has made going to art museums way more fun than you can imagine.

As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.

I always enjoyed art history because, growing up in California, my exposure was limited, and it was a new experience. To learn the history of art opened up certain things to me, made me see. It intrigued me.

PICARD: There is no greater challenge than the study of philosophy. WESLEY: But William James won’t be in my Starfleet exams. PICARD: The important things never will be. Anyone can be trained in the mechanics of piloting a starship. WESLEY: But Starfleet Academy PICARD: It takes more. Open your mind to the past. Art, history, philosophy. And all this may mean something.

I grew up in Rome, in actually what I would say was a liberal, open-minded family. My father was an architect and my mother was a teacher of art history, so it was sort of intellectual, and maybe a bit much for me when I was a child.

There are two lives to each of us, the life of our actions, and the life of our minds and hearts. History reveals men’s deeds and their outward characters, but not themselves. There is a secret self that has its own life, unpenetrated and unguessed.

What kinds of problems, and what kinds of meanings, happen in the paint? Or as one historian puts it, ‘What is thinking in painting, as opposed to thinking about painting?’ These are important questions, and they are very hard to answer using the language of art history.

At times there seems to be a million ideas worth painting. However, there are days when it’s a challenge to pull any idea together. On these days I go to my studio, leaf through an art history book, and tell myself that I am part of this great tradition.

As the spiral of modern art history continues to wind down, we can see the increasing demand for tradition in the visual arts.

I set my sights upon becoming the kind of artist who would make a contribution to art history