The ultimate judgment of a work of art, whether it be a masterpiece or a lesser event, must be solely in terms of its artistic success and not on Freudian guesswork.
You may dislike the intention enormously but your judgment of the artistic merit of the work must not be based on your view of what it's about. The work of art must be judged by how well it succeeds in its intention.
One can be a technical master - full of craftsmanship, but not in most senses an artistic master.
I may remind you that history is not a branch of literature. The facts of history, like the facts of geology or astronomy, can supply material for literary art; for manifest reasons they lend themselves to artistic representation far more readily than those of the natural sciences; but to clothe the story of human society in a literary dress is no more the part of a historian as a historian, than it is the part of an astronomer as an astronomer to present in an artistic shape the story of the stars.
Even growing up, if I dealt with any pressure to be a certain way, I knew that as an artistic lane, dancing was the one that was a little more freed up - like no one in my family is really doing that, I can be that person.
I feel like my dad was the more artistic one, creating his own thing, loving to be around people, and all this stuff, doing exciting things, and my mom was more of the performer.
My mom is one, but there have been performers in my family since as long as we can trace them back, so I think it was kind of inevitable to be artistic and to have a force. We're leaders; we're a family of leaders, so I think it's just part of my genes.
There are instances: [Henry David] Thoreau read [John] Wordsworth, [John] Muir read Thoreau, Teddy Roosevelt read Muir, and you got national parks. It took a century for this to happen, for artistic values to percolate down to where honoring the relation of people's imagination to the land, or beauty, or to wild things, was issued in legislation.
Attempts are found in domains of human performance, such as sports, games, artistic domains, professional domains like medicine and the law, and so on. These feature distinctive aims, and corresponding competences. Archery, with its distinctive arrows and targets, divides into subdomains. Thus, competitive archery differs importantly from archery hunting.
I think the world that I grew up in was like being in this sort of magical artistic garden.
You get to have some bigger comedic moments with some very real dramatic stuff. All that in one makes for a fulfilling artistic job.
It wasn't until I was in college that I even realized how much I loved film and started to appreciate acting, this beautiful medium of artistic expression. All I wanted to do was go to college, and I thought I wanted to be a teacher.
The push and pull of representing your world responsibly and your artistic license is a tricky balance.
We don't have a lot of power in the world, right? We can only control so many things. It allows you to curate your own emotional and artistic intake of life.
When you're playing festivals, you only get a half-hour. It's like a meat market. You don't get to be artistic. You don't get to play music. It's called a showcase for a reason.
Sometimes we just need a space that gives us permission to be the best, most full version of our artistic selves, and we flourish.
Cinema for me is an area of philosophy and artistic statement.
It's very nourishing and collaborative - kind of the true essence of what one would want an artistic collaboration to be [the collaboration with Oprah Winfrey].
The images [of The Kite Runner grafic] were created in Fabio Celoni's mind. I chose to let him take the lead. Fabio and I did exchange an e-mail or two, but it was my intention to step out of the way and let his artistic instincts take over.
Kabul was a thriving cosmopolitan city with its vibrant artistic, intellectual and cultural life. There were poets, musicians, and writers. There was also an influx of western culture, art, and literature in the '60s and '70s.
I kind of started with this foundation, and tried to do all the research I could do for Alice [Cullen], and then every time a [new] director would come in, they have their own artistic take on things and add in new elements. And a lot of times they would ask, "What did you love that you portrayed, and what do you wish that you could show?" So I felt, with each installment, I got the opportunity to add on something. I think she was very - you know, really sweet, [laughs] a little odd in the first installment.
My family was not an artistic family, but somewhere in my head, I thought I might be good at it. I don't know why I thought it. I had no evidence to think I might be good at it.
The cliché of that sort of wasted, renegade, drugged-out musician of the '70s is kind of dead and gone now. And I suppose that a lot of people still keep relying on that, or some kind of image to perpetuate something that they think they're supposed to sound like. But that kind of takes you away from real inspiration and, you know, real artistic discovery of the individual.
I remember somebody saying something to me about Frost/Nixon, when Anthony Hopkins does his famous speech, and the difference in the way Anthony did it was to dramatize, essentially, what was a documentary-style version of that speech. I remember someone saying to me, "There is artistic liberty."
For people who make inventions, whether they make scientific inventions or artistic inventions, they're driven by pretty much the same thing. It's some mistrust from somebody saying it couldn't be a certain way, and overthrowing that. But that can happen at any point in history, at any time you come along. It doesn't get better or worse because you're born in this era or that era - I think it's more individualistic. It comes from within, you know, it's an internal thing.
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