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A fundamental problem in such studies stems from the long tradition that has regarded artistic productions as social facts. by regarding such productions as social facts the analyst is relieved of the burden of demonstrating what meanings these productions have for the artist and his [sic] audience. It is too frequently assumed that such meanings can be identified by a capable analyst, independent of the interpretations brought to such works by the artist or his audiences. In my judgement artist productions must be seen as interactional creations; the meanings of which arise out of the interactions directed to them by the artist and his audience.
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Frith, Simon (1978). The Sociology of Rock. ISBN 0094602204. 

 

Norman Denzin

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Nature has mysterious infinities and imaginative power. It is always varying the productions it offers to us. The artist himself is one of nature's means.

 

Paul Gauguin

 

'Now, it's just occurred to me that we're missing something crucial. Ah, yes, an artist! Bugg, have we a court artist? We need an artist! Find us an artist! Nobody move!'

 

Steven Erikson

 

The free artist creates without a commission. He seems distinguished by the complete independence of his creativity and thus acquires the characteristic social features of an outsider whose style of life cannot be measured by the standards of public morality. The concept of the bohemian which arose in the nineteenth century reflects this process. The home of the Gypsies became the generic word for the artist's way of life.
But at the same time the artist, who is as "free as a bird or a fish," bears the burden of a vocation that makes him an ambiguous figure. For a cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the "standpoint of art" can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a "secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.

 

Hans-Georg Gadamer

 

Talk not so much, then, young artist, of the great old masters, who but painted and chisell’d. Study not only their productions. There is a still higher school for him who would kindle his fire with coal from the altar of the loftiest and purest art. It is the school of all grand actions and grand virtues, of heroism, of the death of patriots and martyrs — of all the mighty deeds written in the pages of history — deeds of daring, and enthusiasm, devotion, and fortitude.

 

Walt Whitman

 

The natural history of these islands is eminently curious, and well deserves attention. Most of the organic productions are aboriginal creations, found nowhere else; there is even a difference between the inhabitants of the different islands; yet all show a marked relationship with those of America, though separated from that continent by an open space of ocean, between 500 and 600 miles in width. The archipelago is a little world within itself, or rather a satellite attached to America, whence it has derived a few stray colonists, and has received the general character of its indigenous productions. Considering the small size of these islands, we feel the more astonished at the number of their aboriginal beings, and at their confined range. Seeing every height crowned with its crater, and the boundaries of most of the lava-streams still distinct, we are led to believe that within a period, geologically recent, the unbroken ocean was here spread out. Hence, both in space and time, we seem to be brought somewhat near to that great fact — that mystery of mysteries — the first appearance of new beings on this earth.

 

Charles Darwin