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“Magritte’s variations on the same theme invite us to rethink conventional notions of originality, to look more carefully at the details and contrasts between different versions of the painting: we observe the architectural variations of the Belgian houses, the varieties of trees in the foreground, of the streetlamps and their shadows, and of the skyscapes. Some of these paintings are in portrait format, others in landscape; some, like the 1961 version, give the viewer a deeper sense of proximity to, or immersion in, the scene while in others the depicted world is more distant. Together, these variant paintings form an internal system of poetic rhythms and patterns in which cross-references abound, alongside allusions to older Belgian art, most notably La Maison rose (1892) by the symbolist William Degouve de Nuncques.”

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“So, like so many artists before me, my comrades-in-arms, Rembrandt, Rubens, da Vinci, Caravaggio, Michelangelo, anyone who willingly put themselves through this same ordeal, I purchased everything I needed and began hauling my canvases, easel, and paints all over the large metropolis of Vienna every day. I searched for my voice, my signature, what made my paintings inherently and unmistakably mine.”

“AH: A great artist is imperative to society, doctor, because that person decides to pursue the uncertain future of an artist for no other reason than to create art and improve life for everybody. Art is self-determining and undemocratic. It’s a meritocracy. And anyone with any sense at all understands that art is the soothing slave on the irritating wound that is life. DR: Did you just make that up? AH: Yes. DR. That’s very good.”

“Die Kunst kann mit den ihr genuinen Mitteln zwei komplementäre Erkenntnisbewegungen zum Klimadiskurs beitragen: Sie kann die scheinbare Selbstgenügsamkeit eines Ichs aufbrechen, das sich unbetroffen fühlt, weil es seine grundsätzliche Verbundenheit leugnet, und sie kann den (nichtpekuniären) Wert der verschwindenden Lebensräume, der verschwindenden Arten vor Augen führen. "Die Welt muß romantisiert werden": Ich möchte diese Formel wieder als Forderung der Aufklärung verstehen, also als Forderung der Vernunft, die Fragilität und Einzigartigkeit lebender Wesen wahrzunehmen und ihnen mit Freundlichkeit und Respekt zu begegnen.”

“Левинас написал в «Трудной свободе», что душа — это не возможность бессмертия (моего), а невозможность убийства (Другого). Многие считают искусство проявлением вероятности нашего бессмертия, упорным стремлением продолжить себя, анти-судьбой. Может ли оно быть одним из путей, ведущих к невозможности убийства? Может ли оно внушить душе невозможность отнятия жизни у другого человека? Тогда смотреть на экран, на картину, на сцену, на скульптуру, на страницу, слушать песню, музыку означало бы: не убивать.”