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Gustave Flaubert

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The artist must be in his work as God is in creation, invisible and all-powerful; one must sense him everywhere but never see him.
--
Letter to Mademoiselle Leroyer de Chantepie (March 18, 1857)

 
Gustave Flaubert

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It makes no sense to expect or claim to ‘make the invisible visible’, or the unknown known, or the unthinkable thinkable. We can draw conclusions about the invisible; we can postulate its existence with relative certainty. But all we can represent is an analogy, which stands for the invisible but is not it.

 
Gerhard Richter
 

..art is not for the personal satisfaction of one or the other, but art wants to return all what’s in life.. .. Art wants to give back everything what’s in our lives. The more comprehensive the artist stands in life the more powerful his work will speak, and therefore a work of art is a measure of the mental size of his creator.

 
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Live for the other life. Endure as seeing Him who is invisible. Work by faith; work by hope; work by love; work by courage; work by trust; work by the sweet side of your mind; and so be like Christ, until you dwell with Him.

 
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The universal propensity to believe in invisible, intelligent power, if not an original instinct, being at least a general attendant of human nature, may be considered as a kind of mark or stamp, which the divine workman has set upon his work; and nothing surely can more dignify mankind, than to be thus selected from all other parts of the creation, and to bear the image or impression of the universal Creator. But consult this image, as it appears in the popular religions of the world. How is the deity disfigured in our representations of him! What caprice, absurdity, and immorality are attributed to him! How much is he degraded even below the character, which we should naturally, in common life, ascribe to a man of sense and virtue!

 
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In his effort toward revivification of this sense [the sense for great art], the modern artist has not infrequently retired into himself; he has accepted isolation or even alienation. … Sometimes the good has to go underground. … The “revolutionary” artist … has had the aim of saving himself from the surrounding forces of sentimentality and vulgarity. … It is impossible to make a deal with these forces, and we should not be surprised if in striking back the artist has done so in ways even intended to be offensive. He has sometimes shown defiance and contempt toward those who would deny his level of seriousness.

 
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