Yquotes.com

 

Nietzsche does not favor reckless, anarchic action. The model of the artist, and more specifically the musician, is important. Rhythm is of the essence; timing of notes, of actions, allows for a style that is cohesive, even if not uniform. The music that emerges comes out over time, it becomes and develops slowly into a whole that is effective if timed well. Again Nietzsche sees that artists, especially musicians and poets, have such a talent. And to the extent that a writer writes poetically, he also shares in this talent.
--
Diego A. von Vacano, The Art of Power: Machiavelli, Nietzsche and the Making of Aesthetic Political Theory (2007, Lanham, Maryland: Lexington Books, pp. 99-100).

 

Friedrich Nietzsche

» Friedrich Nietzsche - all quotes »

Similar quotes

 

Any writer, I suppose, feels that the world into which he was born is nothing less than a conspiracy against the cultivation of his talent — which attitude certainly has a great deal to support it. On the other hand, it is only because the world looks on his talent with such a frightening indifference that the artist is compelled to make his talent important. So that any writer, looking back over even so short a span of time as I am here forced to assess, finds that the things which hurt him and the things which helped him cannot be divorced from each other; he could be helped in a certain way only because he was hurt in a certain way; and his help is simply to be enabled to move from one conundrum to the next — one is tempted to say that he moves from one disaster to the next.

 

James Baldwin

 

This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.

 

Martin Heidegger

 

I approach the presentation of Kierkegaard with some trepidation. Next to Nietzsche, or rather, prior to Nietzsche, I consider him to be the most important thinker of our post-Kantian age.

 

Soren Aabye Kierkegaard

 

I approach the presentation of Kierkegaard with some trepidation. Next to Nietzsche, or rather, prior to Nietzsche, I consider him to be the most important thinker of our post-Kantian age. With Goethe and Hegel, an epoch had reached its conclusion, and our prevalent way of thinking — that is, the positivistic, natural-scientific one — cannot really be considered as philosophy.

 

Karl Jaspers

 

Great artists are products of their own time: they do not spring forth fully equipped from the head of Jove, but are formed by the circumstances acting upon them since birth. These circumstances include the ambiance created by the other, lesser artists of their own time, who have all done their part in creating the pressure that forces up an exceptional talent. Unjustly, but unavoidably, the very closeness of a great artist to his colleagues and contemporaries leads to their eclipse.

 

Germaine Greer