In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle towards the realization is a series of efforts, pains, satisfactions, refusals, decisions, which also cannot be fully self-conscious, at least on the aesthetic plane. The result of his struggle is a difference between the intention and its realization, a difference which the artist is not aware of.
Marcel DuchampRelated topics
act aesthetic artist chain creative difference intention least pains plane realization result series struggleRelated quotes
My poor soul! Sigh, pray and strive to take upon you the blessed yoke of Christ, and you will live on earth in a heavenly manner. Lord, grant that I may carry the light and goodly yoke, and I shall be always at rest, peaceful, glad and joyous; and I shall taste on earth of crumbs which fall from the celestial feast, like a dog that feeds upon the crumbs which fall from the master's table.
Tikhon of Zadonsk
Let no one out of laziness or continuous worldly occupations miss these holy Sunday gatherings, which God Himself handed down to us, lest he be justly abandoned by God... If you are detained and do not attend on one occasion, make up for it the next time, bringing yourself to Christ's Church. Otherwise you may remain uncured, suffering from unbelief in your soul because of deeds or words, and failing to approach Christ's surgery to receive... holy healing.
Gregory Palamas
.. a demand which will never be fulfilled as long as artists use individualistic means. 'Unity can only result from disciplining the means, for it is this discipline which produces more generalized means'. The objectification of the means will lead towards elementary, monumental plastic expression. It would be ridiculous to maintain that none of this relates to creative activity. If that were true, art would not be subject to logical discipline.
Theo van Doesburg
The internationalization of art becomes a factor contributing to the estrangement of art from the artist. The sum of works of all times and places stands against him as an entity with objectives and values of its own. In turn, since becoming aware of the organized body of artworks as the obstacle to his own aesthetic self-affirmation, the artist is pushed toward anti-intellectualism and willful dismissal of the art of the past.
Harold Rosenberg
Only through blind Instinct, in which the only possible guidance of the Imperative is awanting, does the Power in Intuition remain undetermined; where it is schematised as absolute it becomes infinite; and where it is presented in a determinate form, as a principle, it becomes at least manifold. By the above-mentioned act of Intelligising, the Power liberates itself from Instinct, to direct itself towards Unity.
Johann Gottlieb Fichte
