#creativity

“The golden mean, the truth, is no longer recognized or valued. To win applause one must write stuff so simple that a coachman might sing it, or so incomprehensible that it pleases simply because no sensible man can comprehend it. in a letter to his father, 1782”

“My fatherland has always the first claim on me. Letter to Leopold Mozart (24 November 1781), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906).”

“…passions, violent or not, must never be expressed to the point of disgust, and Music must never offend the ear, even in most horrendous situations, but must always be pleasing, in other words always remain Music… Letter to Leopold Mozart, (Vienna, 26 September 1781), from Mozart's Letters, Mozart's Life: Selected Letters, ed. Robert Spaethling [W.W. Norton, 2000, ISBN 0”

“As I love Mannheim , Mannheim loves me. Letter to Leopold Mozart, (Mannheim, 12 November 1778), from Mozart's Letters, Mozart's Life: Selected Letters, ed. Robert Spaethling [W.W. Norton, 2000, ISBN 0”

“A fellow of mediocre talent will remain a mediocrity, whether he travels or not; but one of superior talent (which without impiety I cannot deny that I possess) will go to seed if he always remains in the same place. Letter to Leopold Mozart (11 September 1778), from Wolfgang Amadé Mozart by Georg Knepler (1991), trans. J. Bradford Robinson [Cambridge University Press, 1994, ISBN 0”

“I must give you a piece of intelligence that you perhaps already know”

“The most stimulating and encouraging thought is that you, dearest father, and my dear sister, are well, that I am an honest German, and that if I am not always permitted to talk I can think what I please; but that is all. Letter to Leopold Mozart (Paris, 29 April 1778), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel”

“Letter to Leopold Mozart (24 October 1777), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906) [1]”

“Sie wird das nothwendigste und härteste und die hauptsache in der Musique niemahlen bekommen, nämlich das tempo, weil sie sich vom jugend auf völlig befliessen hat, nicht auf den tact zu spiellen.”

“I write as a sow pisses. Letter to his sister ( Milan , 26 January 1770), from Contradictory Quotations , Longman Group Ltd., 1983. Rendered as "as the sows piss" in Letters of Wolfgang Amadeus Mozart , trans. Hans Mersmann, Dover Publications, 1972”

“The idea of research has often made painting go astray, and made the artist lose himself in mental lucubrations. Perhaps this has been the principal fault of modern art. The spirit of research has poisoned those who have not fully understood all the positive and conclusive elements in modern art and has made them attempt to paint the invisible and, therefore, the unpaintable.”

“Mathematics , trigonometry , chemistry , psychoanalysis , music , and what not have been related to cubism to give it an easier interpretation. All this has been pure literature , not to say nonsense, which brought bad results, blinding people with theories. Cubism has kept itself within the limits and limitations of painting, never pretending to go beyond it.”

“Many think that Cubism is an art of transition, an experiment which is to bring ulterior results. Those who think that way have not understood it. Cubism is not either a seed or a foetus, but an art dealing primarily with forms, and when a form is realized it is there to live its own life. A mineral substance, having geometric formation, is not made so for transitory purposes, it is to remain what it is and will always have its own form. p. 323.”

“Variation does not mean evolution. If an artist varies his mode of expression this only means that he has changed his manner of thinking, and in changing, it might be for the better or it might be for the worse. p. 391.”

“Cubism is no different from any other school of painting. The same principles and the same elements are common to all. The fact that for a long time cubism has not been understood and that even today there are people who cannot see anything in it, means nothing. I do not read English, and an English book is a blank to me. This does not mean that the English language does not exist, and why should I blame anyone but myself if I cannot understand what I know nothing about? p. 319.”

“We all know that Art is not truth . Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies. If he only shows in his work that he has searched, and re”

“I can hardly understand the importance given to the word research in connection with modern painting. In my opinion to search means nothing in painting. To find is the thing. Nobody is interested in following a man who, with his eyes fixed on the ground, spends his life looking for the purse that fortune should put in his path. The one who finds something no matter what it might be, even if his intention were not to search for it, at least arouses our curiosity, if not our admiration. p. 315”

“They speak of naturalism in opposition to modern painting . I would like to know if anyone has ever seen a natural work of art. Nature and art , being two different things, cannot be the same thing. Through art we express our conception of what nature is not. Velasquez left us his idea of the people of his epoch. Undoubtedly they were different from what he painted them, but we cannot conceive a Philip IV in any other way than the one Velasquez painted... [Paris 1923]. As quoted in Futurism , ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 312”

“When I hear people speak of the evolution of an artist, it seems to me that they are considering him standing between two mirrors that face each other and reproduce his image an infinite number of times, and that they contemplate the successive images of one mirror as his past, and the images of the other mirror as his future, while his real image is taken as his present. They do not consider that they all are the same images in different planes... [Paris 1923]. As quoted in Futurism , ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311”

“Among the several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research . When I paint my object is to show what I have found and not what I am looking for. In art intentions are not sufficient and, as we say in Spanish , love must be proved by facts and not by reasons... [Paris 1923]. As quoted in Futurism , ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311”

“I love Pops , I love the way he sings, the way he plays”

“Mastersounds Heard Again in New Album; Miles Davis At the Blackhawk”

“On Louis Armstrong in a Playboy magazine interview.”

“You can't play anything on a horn that Louis hasn't played.”

“The music has gotten thick. Guys give me tunes and they're full of chords. I can't play them...I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do with them. About the new modal style. Interviewed by The Jazz Review (1958); Quotes in Paul Maher, ‎Michael K. Dorr (2009) Miles on Miles: Interviews and Encounters with Miles Davis, p. 18.”

“Quoted in: Jazz Journal International, (1983), p. 12.”

“Is that what you wanted, Alfred? Miles Davis asking Blue Note producer Alfred Lion 's approval of a recorded performance in Rudy Van Gelder 's studio. Miles' was included at the end of "One For Daddy”

“columns, c. 1957, in response to”

“Relaxin' with the Miles Davis Quintet”

“I’ll play it and tell you what it is later. In Szwed, John (2012).  So What: The Life of Miles Davis . Random House. ISBN 9781448106462 . , and in many other books Sometimes rendered as: I'll play it ' first and tell you what it is later.”

“Art! Who comprehends her? With whom can one consult concerning this great goddess? Letter to Bettina von Arnim”

“Music is indeed the mediator between the spiritual and sensual life. Attributed to Beethoven by Bettina von Arnim in a letter to Goethe (28 May 1810); Goethe's Correspondence with a Child”

“Goethe's Briefwechsel mit einem Kinde: Seinem Denkmal , Volume 2, Dümmler, 1835, p. 193.”

“As reported by Bettina von Arnim in a letter to Goethe , 28 May 1810.”

“Musik höhere Offenbarung ist als alle Weisheit und Philosophie. [1] Music is a higher revelation than all wisdom and philosophy.”

“Nur das Reine im Herzen kann eine gute Suppe machen. Only the pure in the heart can make a good soup.”

“Music is like a dream. One that I cannot hear. Conversations”

“...thus do I take my farewell of thee”

“There ought to be but one large art warehouse in the world, to which the artist could carry his art”

“I want to seize fate by the throat. Letter to F.G. Wegeler, 16 November, 1801.”

“Leonard Bernstein discusses material & structure in Bach's St. Matthew Passion,”

“Bach is the immortal God of Harmony. Ludwig van Beethoven”

“Not brook, but ocean should be his name (Bach is the German word for brook.) Ludwig van Beethoven”

“Toccata and Fugue in D minor”

“Annotation in a copy of the Calov Bible , cited from John Butt (ed.) The Cambridge Companion to Bach (Cambridge: Cambridge University Press, 1997), p. 256; translation from ibid. , p. 46”

“Bei einer andächtigen Musik ist allezeit Gott mit seiner Gnaden Gegenwart. Where there is devotional music, God with his grace is always present.”

“Quoted in Ludwig Prautzsch Bibel und Symbol in den Werken Bachs , p. 7 [1] ; translation from Albert Schweitzer (trans. Ernest Newman ) J. S. Bach (New York: Dover, 1966), vol. 1, p. 167”

“Dem höchsten Gott allein zu Ehren, Dem Nächsten draus sich zu belehren. To the glory of the most high God alone, and that my neighbour may be educated thereby.”

“He who has imagination, with what ease he creates a world from nothing.”

“I would have loved to have been on the Band Aid record but I only heard about it when I was in Germany. I don’t know if they would have had me on the record anyway, because I’m a bit old. I’m just an old slag who gets up every morning, scratches his head and wonders what he wants to fuck. As quoted in "Blame it on Rio" by Robin Smith, in Record Mirror (26 January 1985) .”

“Hello everybody! Hey hey hey! Okay! Do you know it's not... it's not very often that we do shows in daylight. And I fucking wish we'd done before, I can see you all now. And there's some beauties here tonight, I can tell you! Live at Milton Keynes Bowl (5 June 1982) .”

“Listen, if you guys wanna move around and shift your asses a little, it's okay. It's okay by us, right? You can take all your clothes off if you like too, doesn't matter... Fuck off! [laughs] During a concert in Montreal, Canada, (24 or 25 November 1981), first released as videotape We Will Rock You (1984) , and later on DVD as Queen Rock Montreal (2007).”

“The Man Who Would Be Queen”

“For A Song : The Mercury that's rising in rock is Freddie the satiny seductor of Queen”

“Queen's Freddie Mercury Shopping For An Image In London”

“I hate pockets in trousers … By the way, I do not wear a hose. My hose is my own. No coke bottle, nothing stuffed down there. As quoted in NME (2 November 1974) .”

“I'm as gay as a daffodil, my dear!”

“Standing Up For Queen”

“It all began with the three wise men, followed a star took them to Bethelehem, and made it heard throughout the land”

“as though I had a lot of years behind me. Now I do, so there is a difference in the weight of memory. When you're young, you're still”

“David Bowie: An Obituary”

“Looking back at David Bowie's invaluable advice for young artists”

“Of course I do!!!! its some cunt in a clown suit.”

“Music has given me over 40 years of extraordinary experiences. I can't say that life's pains or more tragic episodes have been diminished because of it. But it's allowed me so many moments of companionship when I've been lonely and a sublime means of communication when I wanted to touch people . It's been both my doorway of perception and the house that I live in. I only hope that it embraces you with the same lusty life force that it graciously offered me. Commencement Address for the Berklee College of Music, at Hynes Convention Center, Boston, Massachusetts”

“I think fame itself is not a rewarding thing. The most you can say is that it gets you a seat in restaurants. Interviewed in Q magazine”

“Sermon From the Savoy”

“I get offered so many bad movies. And they're all raging queens or transvestites or Martians. 1983 Comment, quoted in Halliwell's Who's Who in the Movies 15th Edition (2003) by Leslie Halliwell, p. 60”

“I'm an instant star. Just add water and stir. Quoted in the chapter on Bowie in Valentines & Vitriol (1978) by Rex Reed”

“Fuck that. I want to be a superman.”

“As quoted by Victor Bockris in his book, Warhol: the Biography (2003), p. 327 . Bockris, Victor (August 12, 2003).  Warhol: the Biography . p. 327 . Retrieved on October 31, 2019 .”

“Scripts bore me. It's much more exciting not to know what's going to happen. I don't think that plot is important. If you see a movie of two people talking, you can watch it over and over again without being bored. You get involved”

“Pelé is one of the few who contradicted my theory [...] Instead of 15 minutes of fame, he will have 15 centuries. Cited in Pelé's New York Times obituary”

“When asked about this quote, he would corrupt it intentionally, including:”

“This quotation has produced a common cliché about fame in pop”

“In the future everyone will be world”

“If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it. In: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective , New York and Boston Museum of modern Art & Bullfinch Press / Little Brown, 1989, pp. 457”

“The farther West we drove [to California, Fall of 1963, with Gerard Malanga , Wynn Chamberlain , and Taylor Mead for an opening of Warhol's 'Liz & Elvis paintings' at the Ferus Gallery in Los Angeles], the more Pop everything looked on the highways. Suddenly we all felt like insiders because even though Pop was everywhere”

“The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine”

“Andy Warhol : I think everybody should like everybody. Gene Swenson: Is that what Pop Art is all about? Andy Warhol: Yes, it's liking things. Quote in 'What is Pop Art? Answers from 8 Painters', in Art News 62”