Swinburne was perpetually talking shop: the bookish spirit in which he looked on nature and mankind, with his head full of his own trade, is essentially the same as the spirit in which The Tailor and Cutter annually criticises the portraits in the Royal Academy, interested, not in the artist, not in the subject, but in the cut of the subject's clothes.
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A. E. Housman, "Swinburne", a lecture delivered at University College, London in 1910, published posthumously in the Cornhill Magazine (Autumn 1969).Algernon Charles Swinburne
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Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.
Kenneth Clark
What Kant regarded as a unique (Copernican) turn to transcendental reflection becomes in Hegel a general mechanism for turning consciousness back upon itself. This mechanism has been switched on and off time and time again in the development of spirit. As the subject becomes conscious of itself, it destroys one form of consciousness after another. This process epitomizes the subjective experience that what initially appears to the subject as a being in itself can become content only in the forms imparted to it by the subject. The transcendental philosopher’s experience is thus, according to Hegel, reenacted naively whenever an in-itself becomes a for-the-subject. What Hegel calls “Dialectical” is the reconstruction of this recurrent experience and of its assimilation by the subject, which gives rise to ever more complex structures. … Hegel, it should be noted, exposes himself to a criticism. … Reconstructing successive forms of consciousness is one thing. Proving the necessity of their succession is quite another.
Jurgen Habermas‎
As one learns the language of a subject, one is also learning what the subject is. ...what we call a subject consists mostly, if not entirely, of its language. If you eliminate all the words of a subject, you have eliminated the subject.
Neil Postman
It is the intense personal character which, I think, gives the superiority to Titian's portraits over all others, and stamps them with a living and permanent interest. Of other pictures you tire, if you have them constantly before you; of his, never. For other pictures have either an abstracted look, and you dismiss them, when you have made up your mind on the subject as a matter of criticism; or an heroic look, and you cannot be always straining your enthusiasm; or an insipid look, and you sicken of it. But whenever you turn to look at Titian's portraits, they appear to be looking at you; there seems to be some question pending between you, as though an intimate friend or inveterate foe were in the room with you; they exert a kind of fascinating power; and there is that exact resemblance of individual nature which is always new and always interesting, because you cannot carry away a mental abstraction of it, and you must recur to the object to revive it in its full force and integrity. I would as soon have Raphael's, or most other pictures, hanging up in a collection, that I might pay an occasional visit to them: Titian's are the only ones that I should wish to have hanging in the same room with me for company!
Titian
The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity.
Whitney Chadwick
Swinburne, Algernon Charles
Switzer, Barry
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