„But when a great artist or a great writer lays hold upon either sort of ugliness he transfigures it instantaneously. With a touch from the magic ring he metamorphoses it into beauty. His Is a sort of fairy alchemy. His Is a sort of fairy alchemy.
When Velasquez, paints Sebastian, King Philip's dwarf, he gives him such an appealing look that we read the poor creature's secret and see the tragedy it involved — a man forced to get his living by discarding his human dignity, and becoming a toy, a living joke. The more poignant his martyrdom, within that misshapen body, the more beautiful the artist's work.
When Millet paints a poor rustic leaning upon a hoe, a wretch broken by fatigue, scorched by the sun, degraded as a beast of the field, he has only to add an expression of resignation in order to make this hideous nightmare a magnificent symbol of humanity.
When Shakespeare gives us Tago or Richard III, and when Racine gives us Néron and Narcisse, moral ugliness, interpreted by minds so clear, so penetrating, becomes a marvelous theme of beauty.“

Rodin on realism, 1910

Obtido da Wikiquote. Última atualização 14 de Setembro de 2021. História
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Auguste Rodin13
Artista 1840 - 1917

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Ez ist ein armer trügesite,
der vriunden alsô liuget,
daz er sich selben triuget.
Fonte: Tristan, Line 12308

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„When a man gives his opinion, he's a man. When a woman gives her opinion, she's a bitch.“

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„Genius borrows nobly. When Shakespeare is charged with debts to his authors, Landor replies: "Yet he was more original than his originals. He breathed upon dead bodies and brought them into life."“

—  Ralph Waldo Emerson American philosopher, essayist, and poet 1803 - 1882

1870s, Society and Solitude (1870), Quotation and Originality
Variante: Genius borrows nobly. When Shakespeare is charged with debts to his authors, Landor replies: "Yet he was more original than his originals. He breathed upon dead bodies and brought them into life".

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„One artist sees himself as the creator of an independent spiritual world; he hoists onto his shoulders the task of creating this world, of peopling it and of bearing the all-embracing responsibility for it; but he crumples beneath it, for a mortal genius is not capable of bearing such a burden. Just as man in general, having declared himself the centre of existence, has not succeeded in creating a balanced spiritual system. And if misfortune overtakes him, he casts the blame upon the age-long disharmony of the world, upon the complexity of today's ruptured soul, or upon the stupidity of the public.
Another artist, recognizing a higher power above, gladly works as a humble apprentice beneath God's heaven; then, however, his responsbility for everything that is written or drawn, for the souls which perceive his work, is more exacting than ever. But, in return, it is not he who has created this world, not he who directs it, there is no doubt as to its foundations; the artist has merely to be more keenly aware than others of the harmony of the world, of the beauty and ugliness of the human contribution to it, and to communicate this acutely to his fellow-men. And in misfortune, and even at the depths of existence — in destitution, in prison, in sickness — his sense of stable harmony never deserts him.
But all the irrationality of art, its dazzling turns, its unpredictable discoveries, its shattering influence on human beings — they are too full of magic to be exhausted by this artist's vision of the world, by his artistic conception or by the work of his unworthy fingers.“

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