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Delacroix, Wagner, Baudelaire — all great theorists, bent on dominating other minds by sensuous means. Their one dream was to create the irresistible effect — to intoxicate, or overwhelm. They looked to analysis to provide them with the keyboard on which to play, with certainty, on man's emotions, and they sought in abstract meditation they key to sure and certain action upon their subject — man's nervous and psychic being.
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Paul Valéry, "Autour de Corot" (About Corot), preface to Vingt Estampes de Corot (Éditions des Biblioth?ques Nationales, 1932); printed in Degas Manet Morisot (Princeton University Press, 1989, ISBN 0-691-01882-0), p. 136

 

Charles Baudelaire

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Slowly I discovered the secret of my art. It consists of a meditation on nature, on the expression of a dream which is always inspired by reality. With more involvement and regularity, I learned to push each study in a certain direction. Little by little the notion that painting is a means of expression asserted itself, and that one can express the same thing in several ways. Exactitude is not truth, Delacroix liked to say.

 

Henri Matisse

 

Our life energies are the most basic and the most powerful aspect of human beings. Though most people are unaware of it, whichever way our energies play, that’s the way our bodies and our minds and our emotions play. So, once we get the energies—the fundamentals—moving in one direction, we can make sure that our bodies, emotions, and minds are also moving in that direction. -Sadhguru

 

Jaggi Vasudev

 

Ideas do not make a movement; they are themselves merely the product of concrete situations, the intellectual precipitate of particular conditions of life. Movements arise only from the immediate and practical necessities of social life and are never the result of purely abstract ideas. But they acquire their irresistible force and their inner certainty of victory only when they are vitalised by a great idea, which gives them life and intellectual content.

 

Rudolf Rocker

 

Obedient to the primary impulse of adequate expression, the style of a complex subject should be complex; of a technical subject, technical; of an abstract subject, abstract; of a familiar subject, familiar; of a pictorial subject, picturesque.

 

George Henry Lewes

 

Shaw knows at any moment, on any subject, what he thinks, what you will think, what others have thought, what all this thinking entails; and he takes the most elaborate pains to bring these thoughts to light in a form which is by turns abstract and familiar, conciliatory and aggressive, obvious and inferential, comic and puzzling. In a word, Shaw is perhaps the most consciously conscious mind that has ever thought — certainly the most conscious since Rousseau; which may be why both of them often create the same impression of insincerity amounting to charlatanism.
Yet it is by excess of honesty that Shaw himself lent color to his representation as an inconsequential buffoon bent on monopolizing the spotlight.

 

Jacques Barzun