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There are not fifty ways of fighting, there's only one, and that's to win. Neither revolution nor war consists in doing what one pleases.
André Malraux
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Man knows that the world is not made on a human scale; and he wishes that it were.
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The world of art is not a world of immortality but of metamorphosis.
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The great Christian art did not die because all possible forms had been used up; it died because faith was being transformed into piety. Now, the same conquest of the outside world that brought in our modern individualism, so different from that of the Renaissance, is by way of relativizing the individual. It is plain to see that man's faculty of transformation, which began by a remaking of the natural world, has ended by calling man himself into question.
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Could we bring ourselves to feel what the first spectators of an Egyptian statue, or a Romanesque crucifixion, felt, we would make haste to remove them from the Louvre. True, we are trying more and more to gauge the feelings of those first spectators, but without forgetting our own, and we can be contented all the more easily with the mere knowledge of the former, without experiencing them, because all we wish to do is put this knowledge to the work of art.
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Our civilization … is not devaluing its awareness of the unknowable; nor is it deifying it. It is the first civilization that has severed it from religion and superstition. In order to question it.
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Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.
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Once the masterpiece has emerged, the lesser works surrounding it fall into place; and it then gives the impression of having been led up to and foreseeable, though actually it is inconceivable — or, rather, it can only be conceived of once it is there for us to see it.
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In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art.
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"Why do you fight?"... He kept his wife, his kid, from dying. That was nothing. Less than nothing. If he had had money, if he could have left it to them, he would have been free to go and get killed. As if the universe had not treated him all his life with kicks in the belly, it now despoiled him of the only dignity he could ever possess — his death.
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The human mind invents its Puss-in-Boots and its coaches that change into pumpkins at midnight because neither the believer nor the atheist is completely satisfied with appearances.
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History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.
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The present age delights in unearthing a great man's secrets; for one thing because we like to temper our admiration and also perhaps we have a vague hope of finding a clue to genius in such "revelations."
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Though man's feeling for the other-worldly often has recourse to solitude, solitude does not foster its development; rather, it is nourished by communion, to which the church is more propitious than the cemetery.
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Humanism does not consist in saying: 'No animal could have done what I have done,' but in declaring: 'We have refused what the beast within us willed to do, and we seek to reclaim man wherever we find that which crushes him.'
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To the humblest among them, who may be listening to me now, I want to say that the masterpiece to which you are paying historic homage this evening is a painting which he has saved.
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Youth is a religion from which one always ends up being converted.
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The ordinary man puts up a struggle against all that is not himself, whereas it is against himself, in a limited but all-essential field, that the artist has to battle.
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In the realm of human destiny, the depth of man's questionings is more important than his answers.
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The extermination camps, in endeavoring to turn man into a beast, intimated that it is not life alone which makes him man.
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Each form of the sacrosanct was regarded by members of the culture which gave rise to it as a revelation of the Truth; at Byzantium it was not a mere hypothesis that was sponsored by the majesty of the Byzantine style. To us, however, these forms make their appeal as forms alone — in other words, as they would be were they the work of a contemporary (and, since this actually is unthinkable, they affect us in a puzzling manner); or else as so many grandiose vestiges of a faith that has died out. We look at them from outside; they are still emotive, but they are no longer true. Thus we deprive them of what was their most vital element; for a religious civilization that regarded what it revered as a mere hypothesis is inconceivable.
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The only domain where the divine is visible is that of art, whatever name we choose to call it.
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The sons of torture-victims make good terrorists.
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The art museum is one of the places that give us the highest idea of man.
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Remote from ourselves in dream and in time, India belongs to the Ancient Orient of our soul... What is Zeus, compared with Shiva? The only god of antiquity whose language is worthy of India is the god without temples – Fate.
André Malraux
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Determination, energy, and courage appear spontaneously when we care deeply about something. We take risks that are unimaginable in any other context.
Meg Wheatley
André Malraux
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Born:
November 3, 1901
Died:
November 23, 1976
(aged 75)
Bio:
André Malraux was a French novelist, art theorist and Minister of Cultural Affairs. Malraux's novel La Condition Humaine won the Prix Goncourt.
Known for:
Man's Fate (1933)
The Voices of Silence (1952)
Les Conquérants (1928)
The Royal Way (1930)
The Temptation of the West (1961)
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supreme
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history
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true
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mere
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