An artist needs knowledge and the power of observation only so that he can tell from what he is abstaining, and to be sure that his abstention will not appear artificial or false.
--
Journal entry, 7 July 1980; Time Within Time: The Diaries 1970-1986 (pub. 1989)Andrei Tarkovsky
» Andrei Tarkovsky - all quotes »
For the truth of the conclusions of physical science, observation is the supreme Court of Appeal. It does not follow that every item which we confidently accept as physical knowledge has actually been certified by the Court; our confidence is that it would be certified by the Court if it were submitted. But it does follow that every item of physical knowledge is of a form which might be submitted to the Court. It must be such that we can specify (although it may be impracticable to carry out) an observational procedure which would decide whether it is true or not. Clearly a statement cannot be tested by observation unless it is an assertion about the results of observation. Every item of physical knowledge must therefore be an assertion of what has been or would be the result of carrying out a specified observational procedure.
Arthur Stanley Eddington
For the student of visionary art the interesting fact is that an image comes first and takes up residence in the mind long before the artist has any notion why it is there or what it means. Whether visions come from some great reservoir of symbolic images which are eternally there (and if one examines the recurrence of images in history this proposition is not quite as crazy as it sounds) or whether they are due to buried memories, their obsessive power over an artist's mind, and their clear, compulsive emergence in his work depends on a mental condition that can come and go. When, for some reason, they no longer present themselves to the mind's eye, alive or clamoring to be born, the visionary artist has a hard time — dark days. This is particularly true if he has lost the habit of feeding his mind on the observation of nature.
Kenneth Clark
One is born an artist. The artist is a man endowed with a special nature, with a particular feeling for seeing form and color spontaneously, as a whole, in perfect harmony. If one lacks that feeling, one is not an artist and will never become an artist; and it is a waste of time to entertain the possibility. This craft is acquired through study, observation, and practice; it can improve by ceaseless work. But the instinct for art is innate. First, one has to love nature with all one's heart and soul, and be able to study and admire it for hours on end. Everything is in nature. A plant, a leaf, a blade of grass should be the subjects of infinite and fruitful meditations; for the artist, a cloud floating in the sky has form, and the form affords him joy, helps him think.
William-Adolphe Bouguereau
No artist can develop without increasing his self-knowledge; but self-knowledge supposes a certain preoccupation with the meaning of human life and the destiny of man. A definite set of beliefs — Methodist Christianity, for example — may only be a hindrance to development; but it is not more so than Beckett's refusal to think at all. Shaw says somewhere that all intelligent men must be preoccupied with either religion, politics, or sex. (He seems to attribute T. E. Lawrence's tragedy to his refusal to come to grips with any of them.) It is hard to see how an artist could hope to achieve any degree of self-knowledge without being deeply concerned with at least one of the three.
Colin Wilson
There are three principal means of acquiring knowledge available to us: observation of nature, reflection, and experimentation. Observation collects facts; reflection combines them; experimentation verifies the result of that combination. Our observation of nature must be diligent, our reflection profound, and our experiments exact. We rarely see these three means combined; and for this reason, creative geniuses are not common.
Denis Diderot
Tarkovsky, Andrei
Tarn, Nathaniel
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z