Vincent Price Quotes

What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects.

People discuss my art and pretend to understand as if it were necessary to understand, when it's simply necessary to love.

I can weep pretty easily. I can get tears in my eyes from a beautiful work of art.

I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.

As a consumer, I don't create art, but I think whatever the message is, art has to touch you.

Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.

Art is not about objects of high monetary exchange. It's about reasserting our firsthand experience in present time.

I don't know if it's art, but I know I like it.

When we look at a painting, or hear a symphony, or read a book, and feel more Named, then, for us, that work is a work of Christian art. But to look at a work of art and then to make a judgment as to whether or not it is art, and whether or not it is Christian, is presumptuous. It is something we cannot know in any conclusive way. We can know only if it speaks within our own hearts, and leads us to living more deeply with Christ in God.

Sometimes good art jumps out at me; most of the time I see bad art, or see nothing at all and just drift, feeling weird, pretending to be fine.

A work of art... is not a living thing... that walks or runs. But the making of a life. That which gives you a reaction. To some it is the wonder of man's fingers. To some it is the wonder of the mind. To some it is the wonder of technique. And to some it is how real it is. To some, how transcendent it is. Like the 5th Symphony, it presents itself with a feeling that you know it, if you have heard it once.

The starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion we call works of art.

The learned understand the reason of art; the unlearned feel the pleasure.

Bad art is never really enjoyed in the same sense in which good art is enjoyed. It is only "liked": it never startles, prostrates, and takes captive.

In place of a hermeneutics we need an erotics of art.

Thus art is not an object, it is an experience.

Man is apt to be more moved by the art of his own period, not because it is more perfect, but because it is organically related to him.

Art must not be intelligent; art is a jouisance, an enjoyment

If the mystical lovers of the arts, who consider all criticism dissection and all dissection destruction of enjoyment, thought logically, an exclamation like "Goodness alive!" would be the best criticism of the most deserving work of art. There are critiques which say nothing but that, only they do so more extensively.

I'll go and see anything so long as it amuses me, or moves me. If it doesn't do either I want to go home.

The first impression of a work of art is its otherness from reality.

Those who are not very concerned with art want poems or pictures to record for them something they already know - as one might want a picture of a place he loves.

The end-purpose of all art is enjoyment!

An artistic impression is substantially the resultant of two components. One what the work of art gives the onlooker - the other, what he is capable of giving to the work of art.

Grant that the true organ with which the beautiful is apprehended is the imagination, and it follows that all arts are likely to affect the feelings indirectly.