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“The artist is often misunderstood because, stepping outside himself and holding most details in great tension, he's about as complex as a shape-shifter; or a head with faces on all sides, but not necessarily in the negative connotation as one being two-faced usually implies. For instance, to be misunderstood can mean to be improperly deemed a troublemaker when that is not one's true intent: you see, to troublemakers, the artist knows that the peacemaker may seem like a troublemaker; therefore he may, whether in honesty or in jest, at times, present himself as a troublemaker for perceptual, artistic flair. But then to the artless peacemakers, because of this they will interpret him as a troublemaker. This is why the artist has so few allies. To the troublemakers he's a troublemaker, yet still the peacemakers a troublemaker.”

“The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.”

“The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.”

“The artist is the lowest form of life on the rung of the ladder. The publishers are usually businessmen who deal with businessmen. They deal with promotional people. They deal with financial people. They deal with accountants. They deal with people who work on higher levels. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists.”

“The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word "Art," and everything is O.K. Rotting corpses with snails crawling over them are O.K.; kicking little girls in the head is O.K.; even a film like L'Age d'Or is O.K.”

“The artist knows total dependence on the unseen reality. The paradox is that the creative process is incomplete unless the artist is, in the best and most proper sense of the word, a technician, one who knows the tools of his trade, has studied his techniques, is disciplined. One writer said, “If I leave my work for a day, it leaves me for three.” I think it was Artur Rubinstein who admitted, “If I don’t practice the piano for one day I know it. If I don’t practice it for two days my family knows it. If I don’t practice it for three days, my public knows it.”

“The artist may rightly venture the opinion that he does not convey ideas, does not preach, nor that he intents to convert people by using mass communication techniques.. .Better than handing out all kinds of wise advice, he could show life itself; he could awake forces lying dormant in everybody, he could launch an invitation to create direct and personal experiences.”