George Edward Woodberry Quotes About Art

Quotes about: Art

• Art has a double visage: it looks before and after. Romance is its forward-looking face. The germ of growth is in romanticism. Formalism, on the other hand, consolidates tradition; gleans what has been gained and makes it facile to the hand or the mind; economizes the energy of genius.

  George Edward Woodberry

  Art, Hands, Romance

  George Edward Woodberry (1916). “Shakespeare: An Address”

• The growth of art seems to be in cycles, and often its vigorous lifetime is restricted to a century or two. The periods of distinctive drama, Greek, English, Spanish, fall within such a limit; the schools of painting and sculpture likewise; and, in poetry, the Victorian age or the school of Pope will serve as examples.

  George Edward Woodberry

  Art, Drama, Fall

  George Edward Woodberry (1914). “Two Phases of Criticism, Historical and Aesthetic: Lectures Delivered on the Larwill Foundation of Kenyon College, May Seventh and Eighth, 1913”

• To realize life in the abstract as noble or beautiful or humane, to set it forth so with radiance upon it, that is civilization in the arts. Shakespeare is the chief modern example of this supreme faculty of mankind.

  George Edward Woodberry

  Beautiful, Art, Civilization

  George Edward Woodberry (1920). “Collected Essays: The torch and other lectures and addresses”

• Is there not an art, a music, and a stream of words that shalt be life, the acknowledged voice of life?

  George Edward Woodberry

  Life, Art, Voice

• We foresee no limit to scientific advancement in the future, and in scientific truth there is nothing dead; science is always a living and growing body of knowledge; but art on the contrary has many times run its course to an end, and exhausted its vital power.

  George Edward Woodberry

  Running, Art, Advancement

• Art does not, like science, set forth a permanent order of nature, the enduring skeleton of law. Two factors primarily determine its works: one is the idea in the mind of the artist, the other is his power of expression; and both these factors are extremely variable.

  George Edward Woodberry

  Art, Skeletons, Expression

  George Edward Woodberry (1914). “Two Phases of Criticism, Historical and Aesthetic: Lectures Delivered on the Larwill Foundation of Kenyon College, May Seventh and Eighth, 1913”

• One can re-create what was in the mind of a mathematician a thousand years ago, recapture the truth of the intellect wherever it may have once come to light; but the image of art, that infinite variable of perception and expression in the individual, - that is not easily re-created, at least, not with certainty and in its original fulness.

  George Edward Woodberry

  Art, Light, Expression

• Art is expression; what is expressed is often the vision of a subtle and powerful soul, and also his experience with his vision; and however vivid and skilful he may be in the means of expression, yet it is frequently found that the master-spell in his work is something felt to be indefinable and inexpressible.

  George Edward Woodberry

  Art, Powerful, Mean

  George Edward Woodberry (1914). “Two Phases of Criticism, Historical and Aesthetic: Lectures Delivered on the Larwill Foundation of Kenyon College, May Seventh and Eighth, 1913”

• Genius is that in which the soul of a race bums at its brightest, revealing and preserving its vision; works of art are great and significant in proportion to the clarity and fulness with which they incarnate this vision.

  George Edward Woodberry

  Art, Race, Soul

• The critic is genius at one remove; he is not unlike an actor on the stage, and incarnates in his mind, as the actor embodies in his person, another's work; only thus does he understand art, realize it, know it; and having arrived at this, his task is done.

  George Edward Woodberry

  Art, Mind, Doe

  George Edward Woodberry (1914). “Two Phases of Criticism, Historical and Aesthetic: Lectures Delivered on the Larwill Foundation of Kenyon College, May Seventh and Eighth, 1913”

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