Subject-matter Quotes
[in Italian Renaissance] there was no 'subject-matter'. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or lying down. He became a bather, she became a bather; she was reclining; he just stood there looking ahead. That is when the posing in painting began... For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.
Willem de Kooning
Everything takes place in an infinitely greater field than what is framed by the size of the picture or by what is materially in the picture. This matter [door/window/wall] is but a support inviting the viewer to participate in the much larger game of a thousand and one visions and feelings; it is the talisman lifting or sinking walls into the deepest recesses of our spirit, opening and at times closing windows in the construction of our impotence, our bondage, or our freedom. The 'subject-matter' then may be found in the picture or it may exist solely inside the spectator's head.
Antoni Tàpies
...there is probably less difference between the positions of a mathematician and of a physicist than is generally supposed, [...] the mathematician is in much more direct contact with reality. This may seem a paradox, since it is the physicist who deals with the subject-matter usually described as ‘real', but [...] [a physicist] is trying to correlate the incoherent body of crude fact confronting him with some definite and orderly scheme of abstract relations, the kind of scheme he can borrow only from mathematics.
G. H. Hardy
As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of colour. The great musicians knew this. w:Beethoven and the rest wrote music - simply music; symphony in this key, concerto or sonata in that... Art should be independent of all claptrap - should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works 'arrangements' and 'harmonies.
James McNeill Whistler
A great many individuals ever since the rise of the mathematical method, have, each for himself, attacked its direct and indirect consequences. ...I shall call each of these persons a paradoxer, and his system a paradox. I use the word in the old sense: ...something which is apart from general opinion, either in subject-matter, method, or conclusion. ...Thus in the sixteenth century many spoke of the earth's motion as the paradox of Copernicus, who held the ingenuity of that theory in very high esteem, and some, I think, who even inclined towards it. In the seventeenth century, the depravation of meaning took place... Phillips says paradox is "a thing which seemeth strange"-here is the old meaning...-"and absurd, and is contrary to common opinion," which is an addition due to his own time.
Augustus De Morgan
The one thing that the public dislike is novelty. Any attempt to extend the subject matter of art is extremely distasteful to the public; and yet the vitality and progress of art depend in a large measure on the continual extension of subject-matter. The public dislike novelty because they are afraid of it. It represents to them a mode of Individualism, an assertion on the part of the artist that he selects his own subject, and treats it as he chooses.
Oscar Wilde
It consists in the genius of the nation, which is prone to peace; in that desire to arrange, by friendly negotiation, our disputes with all nations.... But a new state of things has arisen: negotiation has become hopeless. The power with whom it was to be conducted, if not annihilated, is in the situation that precludes it; and the subject-matter of it is in danger of being snatched forever from our power. Longer delay would be construed into a dereliction of our right, and would amount to a treachery to ourselves.
Henry Clay
![I have a definite feeling for the West, the vast horizontality of the land, for instance... I have always been very impressed with the plastic qualities of American Indian art. The Indians have the true painter's approach in their capacity to get hold of appropriate images, and in their understanding of what constitutes painterly subject-matter. Their colour is essentially Western, their vision has the basic universality of all real art. Some people find references to American Indian art and calligraphy in parts of my pictures. That wasn't intentional; probably [it] was the result of early memories and enthusiasm. (Jackson Pollock)](https://cdn.quotesdtb.com/img/quotes_images_webp/86/jackson-pollock-american-approach-453586.webp)
I believe nothing. I have shut myself away from the rocks and wisdoms of ages, and from the so-called great teachers of all time, and perhaps because of that isolation I am given to bizarre hospitalities. I shut the front door upon Christ and Einstein, and at the back door hold out a welcoming hand to little frogs and periwinkles. I believe nothing of my own that I have ever written. I cannot accept that the products of minds are subject-matter for beliefs. But I accept, with reservations that give me freedom to ridicule the statement at any other time, that showers of an edible substance that has not been traced to an origin upon this earth, have fallen from the sky, in Asia Minor.
Charles Fort
A work of art must carry in itself its complete significance and impose it upon the beholder even before he can identify the subject-matter. When I see the Giotto frescoes at Padua I do not trouble to recognize which scene of the life of Christ I have before me, but I perceive instantly the sentiment which radiates from it and which is instinct in the composition in every line and color.
Henri Matisse
This method of Bare Attention, so helpful to mind-knowledge and, through it, to world-knowledge, tallies with the procedure and attitude of the true scientist and scholar: clear definition of subject-matter and terms; unprejudiced receptivity for the instruction that comes out of the things themselves; exclusion, or at least reduction, of the subjective factor in judgment; deferring of judgment until a careful examination of facts has been made.
Nyanaponika Thera
The purpose here is to demonstrate the diversity of classical formulae which appeared in architectural design, and if we look at classical architecture as a repertoire of forms rather than statements of specific design credos we can challenge teleological constructions of stylistic histories. The method of grouping the architecture from given periods of time under general stylistic labels has, without doubt, been the backbone of the discipline of architectural history. And when used skilfully and carefully it can provide useful punctuation marks in the lengthy and complex narrative that is the subject-matter of the history of western building. Yet it is only one of many tools with which to explore social and cultural contexts.
Dana Arnold
Architecture differs from a work of art, which can be displayed in different settings and the subject-matter, form and meaning will remain unchanged. The physicality of any built structure can be altered over time as additions and alterations are made. Moreover, a building or work of architecture can change its function as it meets the different demands of its occupants, although its exterior appearance may be unaltered. And its meaning may change depending on the nature of the context. This reveals some of the problems of interpreting historic architecture from a modern-day perspective as the physical changes and different cultural contexts transform the object.
Dana Arnold
As property is in the main the chief subject-matter of legislation, so it is almost the only motive power of agitation. A violent political movement (setting aside those where religious controversy is at work) is generally only an indication that a class of those who have little see their way to getting more by means of a political convulsion.
Robert Gascoyne-Cecil, 3rd Marquess of Salisbury
