Art And Decadence Quotes & Sayings

Toughest job in baseball is the general manager. Second toughest is the hitting coach. — Ken Harrelson

All writing, all art, is an act of faith. If one tries to contribute to human understanding, how can that be called decadent? It's like saying a declaration of love is an act of decadence. Any work of art, provide it springs from a sincere motivation to further understanding between people, is an act of faith and therefore is an act of love. — Truman Capote

If the European grows accustomed not to rule, a generation and a half will be sufficient to bring the old continent, and the whole world along with it, into mortal inertia, intellectual sterility, universal barbarism. It is only the illusion of rule, and the discipline of responsibility which it entails, that can keep Western minds in tension. Science, art, technique, and all the rest live on the tonic atmosphere created by the consciousness of authority. If this is lacking, the European will gradually become degraded. Minds will no longer have the radical faith in themselves which impels them, energetic, daring, tenacious, towards the capture of great new ideas in every order of life. The European will inevitably become a day-to-day man. Incapable of creative, specialized effort, he will always be falling back on yesterday, on custom, on routine. He will turn into a commonplace, conventional, empty creature, like the Greeks of the decadence and those of the Byzantine epoch. — Jose Ortega Y Gasset

Limited means often constitute the charm and force of primitive painting. Extension, on the contrary, leads the arts to decadence. — Georges Braque

The blood of my motherland waters a magic plant that cures all ills. That plant is art, and sometimes art needs corruption as a kind of fertilizer — Alfred De Musset

Evolution has no foresight. Complex machinery develops its own agendas. Brains - cheat. Feedback loops evolve to promote stable heartbeats and then stumble upon the temptation of rhythm and music. The rush evoked by fractal imagery, the algorithms used for habitat selection, metastasize into art. Thrills that once had to be earned in increments of fitness can now be had from pointless introspection. Aesthetics rise unbidden from a trillion dopamine receptors, and the system moves beyond modeling the organism. It begins to model the very process of modeling. It consumes evermore computational resources, bogs itself down with endless recursion and irrelevant simulations. Like the parasitic DNA that accretes in every natural genome, it persists and proliferates and produces nothing but itself. Metaprocesses bloom like cancer, and awaken, and call themselves I. — Peter Watts

Like the measles, love is most dangerous when it comes late in life. — George Gordon Byron

One of the powerful temptations is that of the cinema palace. The cinema has undoubtedly an enormous attraction for boys, and people are constantly cudgelling their brains how to stop it. But it is one of those things which would be very difficult to stop even if it were altogether desirable. — Robert Baden-Powell

At issue for Peladan is the potency of the visual image: art's ability to construct images for viewing that can mobilize, concentrate and redirect instinctive responses. He brings out into the open the recognition underlying all decadent art; that is, the political function of the fascinated gaze. — Jennifer Birkett

He gave way to the fear that had come with her, the sense of the breaking of promises, the incoherence of Time. He broke. — Ursula K. Le Guin

It is well known how the book spread like an infectious disease, from city to city, from continent to continent, barred out here, confiscated there, denounced by press and pulpit, censured even by the most advanced of literary anarchists. No definite principles had been violated in those wicked pages, no doctrine promulgated, no convictions outraged. It could not be judged by any known standard, yet, although it was acknowledged that the supreme note of art had been struck in "The King in Yellow," all felt that human nature could not bear the strain nor thrive on words in which the essence of purest poison lurked. The very banality and innocence of the first act only allowed the blow to fall afterwards with more awful effect. — Robert W. Chambers

Decadent cooks go one step further and make sculptures of the food itself. If life is to be spent in pursuit of the extravagant, the extreme, the grotesque, the bizarre, then one's diet should reflect the fact. Life, meals, everything must be as artificial as possible - in fact works of art. So why not begin by eating a few statues? — Medlar Lucan

Hidden away behind the closed doors of aristocratic and bourgeois privilege, concealed under those ultra-respectable masks of black frock coat and veil, the green glow of corruption flickers into sight, steadies, and spreads everywhere, fostered by Lorrain's horrified and complicitous gaze. This decadent detective is at one with the criminal he pursues, acknowledging openly that the representation of corruption is one of the most pleasurable forms that corruption can take. In this enterprise, art is the mask that both exposes and conceals culpability. — Jennifer Birkett

Realization is not knowledge about the universe, but the living experience of the nature of the universe. Until we have such living experience, we remain dependent on examples, and subject to their limits. — Namkhai Norbu

Our God is a God of love. He waits with open arms, and the unfolding of His merciful plan of salvation is not only therefore the mark of divine power but also the mark of God's relentless, redeeming love. It is a point well worth pondering because, among other reasons, it will help us to understand better why God, through the prophets, denounces sin and corruption in such scalding terms. He loves all of us, His spirit sons and daughters, but hates our vices. His denunciation of those vices may, if we are not careful, seem to obscure the enormous and perfect love He has for us. — Neal A. Maxwell

Like symbolism, decadence puts forth the idea that the function of literature is to evoke impressions and 'correspondences', rather than to realistically depict the world ... the decadent aestheticized decay and took pleasure in perversity. In decadent literature, sickness is preferable to health, not only because sickness was regarded as more interesting, but because sickness was construed as subversive, as a threat to the very fabric of society. By embracing the marginal, the unhealthy and the deviant, the decadents attacked bourgeois life, which they perceived as the chief enemy of art. — Asti Hustvedt

Venus of Willendorf carries her cave with her. She is blind, masked. Her ropes of corn-row hair look forward to the invention agriculture. She has a furrowed brow. Her facelessness is the impersonality of primitive sex and religion. There is no psychology or identity yet, because there is no society, no cohesion. Men cower and scatter at the blast of the elements. Venus of Willendorf is eyeless because nature can be seen but not known. She is remote even as she kills and creates. The statuette, so overflowing and protuberant, is ritually invisible. She stifles the eye. She is the cloud of archaic night. — Camille Paglia

Words can hurt you. In the larger world, it frames how people think about you, and it can hurt you in lots of little, subtle ways. — Nathan Myhrvold

In this image (watching sensual murder through a peephole) Lorrain embodies the criminal delight of decadent art. The watcher who records the crimes (both the artist and consumer of art) is constructed as marginal, powerless to act, and so exculpated from action, passive subject of a complex pleasure, condemning and yet enjoying suffering imposed on others, and condemning himself for his own enjoyment. In this masochistic celebration of disempowerment, the sharpest pleasure recorded is that of the death of some important part of humanity. The dignity of human life is the ultimate victim of Lorrain's art, thrown away on a welter of delighted self-disgust. — Jennifer Birkett

Ensor sees with his imagination, but his vision is perfectly accurate, of an almost geometric precision. He is one of the very few who can really see. Like you, he has an obsession with masks; he is a seer as you and I are. The common herd, of course thinks that he is mad.
*****************
You shall see what sort of man Ensor is, and what a marvellous insight he has into the invisible realm where our vices are created ... those vices for which our faces make masks. — Jean Lorrain

Man needs but little earth for enjoyment, and still less for his final
repose. — Johann Wolfgang Von Goethe