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You're a historian. Tell me if there are any bath-tubs in history. I think they've been frightfully neglected.
--
"Porcelain and Pink"

 

F. Scott Fitzgerald

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I am an historian, I am not a believer, but I must confess as a historian that this penniless preacher from Nazareth is irrevocably the very center of history. Jesus Christ is easily the most dominant figure in all history.

 

Jesus Christ

 

Whole great chunks of written history are of little value to the psychohistorian, while other vast areas which have been much neglected by historians — childhood history, content analysis of historical imagery, and so on — suddenly expand from the periphery to the center of the psychohistorian's conceptual world, simply because his or her own new questions require material nowhere to be found in history books.

 

Lloyd deMause

 

History is a bath of blood.

 

William James

 

ADVICE TO PERSONS ABOUT TO WRITE HISTORY — DON’T
In the Moral Sciences Prejudice is Dishonesty.
A Historian has to fight against temptations special to his mode of life, temptations from Country, Class, Church, College, Party, Authority of talents, solicitation of friends.
The most respectable of these influences are the most dangerous.
The historian who neglects to root them out is exactly like a juror who votes according to his personal likes or dislikes.
In judging men and things Ethics go before Dogma, Politics or Nationality. The Ethics of History cannot be denominational.
Judge not according to the orthodox standard of a system religious, philosophical, political, but according as things promote, or fail to promote the delicacy, integrity, and authority of Conscience.
Put conscience above both system and success.
History provides neither compensation for suffering nor penalties for wrong.

 

John (Lord Acton) Acton

 

The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible.

 

Harold Rosenberg