Frases de André Malraux

“A cultura, sob todas as formas de arte, de amor e de pensamento, durante milênios, capacitou o homem a ser menos escravizado.”

“São precisos 60 anos e não 9 meses para fazer um homem.”

“Não se ensina a estender a outra face a pessoas que, desde há dois mil anos, só têm recebido bofetões.”

“A cultura é o que satisfaz o homem quando ele se perguntas o que ele faz na terra.”

“Se um homem não está disposto a arriscar a sua vida, onde está sua dignidade?”

“O homem é aquilo que ele próprio faz.”

“A esperança dos homens é a sua razão de viver e de morrer.”

“A verdade de um homem é em primeiro lugar aquilo que ele esconde.”

“Os homens só morrem pelo que não existe.”

“Pode-se gostar que o sentido da palavra arte seja tentar dar aos homens a consciência da grandeza que ignoram neles mesmos.”

“A morte transforma a vida em destino”

“A coisa mais importante na vida é se encarregar de nunca estar abatido.”

“Aprendi que uma vida não vale nada, mas também que nada vale uma vida.”

“Cada civilização é obcecada, visível ou invisivelmente, pelo que pensa sobre a morte.”

“A arte é uma revolta contra o destino.”

“A cultura não se herda, conquista-se.”

“Vi as democracias intervirem contra quase tudo, salvo contra os fascismos.”

“O Cinema não é senão o aspecto mais evolutivo do realismo plástico que começa com o Renascimento.”

“A Gioconda sorri porque todos os que lhe puseram bigodes estão mortos.”

“É próprio das questões insolúveis serem gastas pela palavra.”

“A coragem é uma coisa que se organiza.”

“A arte é um antidestino.”

“Quem se mata corre atrás de uma imagem que forjou de si próprio: as pessoas matam-se sempre para existir.”

“Só a música pode falar da morte.”

“Há algo maior que o poder que se chama justiça.”

“Conhecer pela inteligência é a tentação vã de deixar passar o tempo.”

“O comunismo destrói a democracia; mas a democracia também pode destruir o comunismo.”

“À questão: 'O que é a arte?' somos levados a responder: 'Aquilo por meio do qual as formas se tornam estilo'.”

“Há artistas desajeitados, não há estilos desajeitados.”

“Não se faz política com a moral, mas também não se faz mais sem ela.”

“A coragem pessoal de um chefe é tanto maior quanto tem uma má consciência de chefe.”

“Se compreendêssemos, nunca mais poderíamos julgar.”

“O museu transforma a obra em objecto.”

“Cristo foi o único anarquista que teve êxito.”

“Só damos pelo envelhecimento dos outros.”

“Não existe herói sem platéia.”

“A verdadeira barbárie é Dachau; a verdadeira civilização é, antes de tudo, a parte do homem que os campos de extermínio quiseram destruir.”

“O pior sofrimento está na solidão que a acompanha.”

“Miséria deste século; não há muito eram as más acções que tinham de ser justificadas; hoje são as boas.”

“Não há cinquenta maneiras de combater, há apenas uma: a do vencedor.”

“A dor que não ajuda ninguém é absurda.”

“Ele era naturalmente corajoso (…) como tantos tímidos.”

“Os grandes artistas não são os copistas do mundo, são os seus rivais.”

“Um crucifixo românico não era, de início, uma escultura; a Madona de Cimabue não era, de início, um quadro; nem sequer a Atena de Fídias era, de início, uma estátua.”

“Não foi o homem, o indivíduo, nem mesmo o Ser Supremo, que Robespierre se levantou contra Cristo; foi o Leviatã, a nação.”

“What is man? A miserable little pile of secrets.”

“On this earth of ours where everything is subject to the passing of time, one thing only is both subject to time and yet victorious over it: the work of art.”

“Once the masterpiece has emerged, the lesser works surrounding it fall into place; and it then gives the impression of having been led up to and foreseeable, though actually it is inconceivable — or, rather, it can only be conceived of once it is there for us to see it.”

“Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.”

“It was not man, the individual, nor even the Supreme Being, that Robespierre set up against Christ; it was that Leviathan, the Nation.”

“Neither revolution nor war consists in doing what one pleases.”

“The great Christian art did not die because all possible forms had been used up; it died because faith was being transformed into piety.”

“I don't argue with my enemies; I explain to their children.”

“The attempt to force human beings to despise themselves… is what I call hell.”

“Often the difference between a successful person and a failure is not one has better abilities or ideas, but the courage that one has to bet on one's ideas, to take a calculated risk - and to act.”

“Be careful--with quotations, you can damn anything.”

“Each form of the sacrosanct was regarded by members of the culture which gave rise to it as a revelation of the Truth; at Byzantium it was not a mere hypothesis that was sponsored by the majesty of the Byzantine style. To us, however, these forms make their appeal as forms alone — in other words, as they would be were they the work of a contemporary (and, since this actually is unthinkable, they affect us in a puzzling manner); or else as so many grandiose vestiges of a faith that has died out. We look at them from outside; they are still emotive, but they are no longer true. Thus we deprive them of what was their most vital element; for a religious civilization that regarded what it revered as a mere hypothesis is inconceivable.”

“Chanel, General De Gaulle and Picasso are the three most important figures of our time.”

“Art is a revolt against fate.”

“"Why do you fight?"… He kept his wife, his kid, from dying. That was nothing. Less than nothing. If he had had money, if he could have left it to them, he would have been free to go and get killed. As if the universe had not treated him all his life with kicks in the belly, it now despoiled him of the only dignity he could ever possess — his death.”

“Athirst for personal salvation, the West forgets that many religions had but a vague notion of the life beyond the grave; true, all great religions stake a claim on eternity, but not necessarily on man's eternal life.”

“One cannot create an art that speaks to me when one has nothing to say.”

“Though man's feeling for the other-worldly often has recourse to solitude, solitude does not foster its development; rather, it is nourished by communion, to which the church is more propitious than the cemetery.”

“Freedom is not an exchange — it is freedom.”

“Our civilization … is not devaluing its awareness of the unknowable; nor is it deifying it. It is the first civilization that has severed it from religion and superstition. In order to question it.”

“The present age delights in unearthing a great man's secrets; for one thing because we like to temper our admiration and also perhaps we have a vague hope of finding a clue to genius in such "revelations."”

“A large share of our art heritage is now derived from peoples whose idea of art was quite other than ours, and even from peoples to whom the very idea of art meant nothing.”

“The artist is not the transcriber of the world, he is its rival.”

“If a man is not ready to risk his life, where is his dignity?”

“Could we bring ourselves to feel what the first spectators of an Egyptian statue, or a Romanesque crucifixion, felt, we would make haste to remove them from the Louvre. True, we are trying more and more to gauge the feelings of those first spectators, but without forgetting our own, and we can be contented all the more easily with the mere knowledge of the former, without experiencing them, because all we wish to do is put this knowledge to the work of art.”

“One can like that the meaning of the word "art" is to try to make men aware of the greatness that they ignore in them.”

“Surely that little pseudo-gothic church on Broadway, hidden amongst the skyscrapers, is symbolic of the age! On the whole face of the globe the civilization that has conquered it has failed to build a temple or a tomb.”

“History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.”

“If modern painters feel qualms about applying the term "masterpiece" to describe a work of capital importance, this is because it has come to convey a notion of perfection: a notion that leads to much confusion when applied to artists other than those who made perfection their ideal.”