. . . money . . . is really the difference between men and animals, most of the things men feel, animals feel, and vice versa, but animals do not know about money.
Gertrude SteinRead
A masterpiece... may be unwelcome but it is never dull.
Interpretation
Great art may not always be appreciated, but it always provokes thought and emotion.
Gertrude Stein's quote emphasizes that true masterpieces, while they may not always be embraced or understood by everyone, possess an inherent quality that captivates attention. Unlike ordinary works that might fade into the background, a masterpiece has the ability to engage and challenge the observer, sparking discussion and reflection.
In practice
During a gallery opening, when discussing a provocative piece, one might say, 'A masterpiece may be unwelcome but it is never dull.'
. . . money . . . is really the difference between men and animals, most of the things men feel, animals feel, and vice versa, but animals do not know about money.
The creator of the new composition in the arts is an outlaw until he is a classic.
If the communication is perfect, the words have life, and that is all there is to good writing, putting down on the paper words which dance and weep and make love and fight and kiss and perform miracles.
The United States is just now the oldest country in the world, there always is an oldest country and she is it, it is she who is the mother of the twentieth century civilization. She began to feel herself as it just after the Civil War. And so it is a country the right age to have been born in and the wrong age to live in.
I simply contend that the middle-class ideal which demands that people be affectionate, respectable, honest and content, that they avoid excitements and cultivate serenity is the ideal that appeals to me, it is in short the ideal of affectionate family life, of honorable business methods.
It is natural to indulge in the illusions of hope. We are apt to shut our eyes to that siren until she allures us to our death.
I film normal-life subjects in natural settings that some people would consider uncinematic. But what I want to show is nature itself, as the truth of life.
I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.
I write to create red in a world that often appears black and white.
Every child is an artist. The problem is how to remain an artist once we grow up.
I enjoy wording. Words for me are tangible bodies, visible sirens, incarnate sensualities.
It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work.
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