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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 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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On this earth of ours where everything is subject to the passing of time, one thing only is both subject to time and yet victorious over it: the work of art.
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If modern painters feel qualms about applying the term "masterpiece" to describe a work of capital importance, this is because it has come to convey a notion of perfection: a notion that leads to much confusion when applied to artists other than those who made perfection their ideal.
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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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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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"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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Chanel, General De Gaulle and Picasso are the three most important figures of our time.
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The artist is not the transcriber of the world, he is its rival.
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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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There has been talk of the risks this painting took by leaving the Louvre. But the risks taken by the boys who landed one day in Normandy—to say nothing of those who had preceded them 25 years before—were much more certain.
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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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One cannot create an art that speaks to men when one has nothing to say.
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The sons of torture-victims make good terrorists.
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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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The genius of Christianity is to have proclaimed that the path to the deepest mystery is the path of love.
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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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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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In the realm of human destiny, the depth of man's questionings is more important than his answers.
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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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Athirst for personal salvation, the West forgets that many religions had but a vague notion of the life beyond the grave; true, all great religions stake a claim on eternity, but not necessarily on man's eternal life.
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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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Surely that little pseudo-gothic church on Broadway, hidden amongst the skyscrapers, is symbolic of the age! On the whole face of the globe the civilization that has conquered it has failed to build a temple or a tomb.
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Our art culture makes no attempt to search the past for precedents, but transforms the entire past into a sequence of provisional responses to a problem that remains intact.
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The great mystery is not that we should have been thrown down here at random between the profusion of matter and that of the stars; it is that from our very prison we should draw, from our own selves, images powerful enough to deny our own nothingness.
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An individualism which has got beyond the stage of hedonism tends to yield to the lure of the grandiose. It was not man, the individual, nor even the Supreme Being, that Robespierre set up against Christ; it was that Leviathan, the Nation.
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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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Youth is a religion from which one always ends up being converted.
André Malraux
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Quote of the day
Good authors, too, who once knew better words Now only use four-letter words Writing prose — Anything goes.
Cole Porter
André Malraux
Creative Commons
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)
Most used words:
art
time
man
life
work
civilization
notion
masterpiece
idea
human
supreme
modern
history
true
mere
André Malraux on Wikipedia
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