London Art Quotes & Sayings

There are some disabling myths about what art is, how to do it, what is good art, and what art is for, that have gagged generations, depriving them of significant and natural means of expression. This is a terrible loss and an unnecessary one. — Peter London

I used to stay up all night playing 'Resident Evil 2,' and it wouldn't stop until the sun came up. Then I'd walk outside at dawn's first light, looking at the empty streets of London, and it was like life imitating art. It felt like I'd stepped into an actual zombie apocalypse. — Edgar Wright

Go on writing plays, my boy, One of these days one of these London producers will go into his office and say to his secretary, "Is there a play from Shaw this morning?" and when she says, "No," he will say, "Well, then we'll have to start on the rubbish." And that's your chance, my boy. — George Bernard Shaw

The greatest of the arts is the conquering of men. — Jack London

His hold is tight, our fingers are laced, and he's occasionally rubbing circles on the top of my hand with his thumb. These small gestures definitely make handholding seem more like an art. — Kim Karr

Let beauty be your end. Why should you mint beauty into gold? Anyway, you can't; — Jack London

London, thou art the flower of cities all! — William Dunbar

The provincial intellectual is doomed to arguing at low level ... there is still no Australian literary world, not in Sydney, Melbourne, Adelaide. It is some consolation to realise that there is no literary world in Birmingham or Los Angeles either. I have heard there is one in Montreal, but I don't believe it. The literary world is in London and New York, the only cities big enough to sustain magazines which can afford to reject copy. — Clive James

For me it's very important to turn Kiev into one of the main centers of contemporary art in the world. There is New York. There's London. And there will be Kiev. Everyone will come and say, 'Wow!' — Victor Pinchuk

The great city seemed to weigh upon me, as though it were crushing me under its heap of brick and stone. Gray, drizzly skies, congested streets, the soot-belching boats and barges chugging up and down the Thames, the teeming mass of four millions hastening about the countless activities of daily life in a metropolis, things adventurous, meaningful, spiritual, quotidian, futile, criminal, meaningless and absurd. Amidst this seething stew of humanity, I painted. — Gary Inbinder

Fred is staying with his mother these holidays. She's living in London for six months, in Chelsea, studying Georgian underwear at the National Art Library. It's a thesis, not a fetish. — Fiona Wood

[A]bove all, it has been the Qur'anic notion of the universe, as an expression of Allah's will and creation, that has inspired in diverse Muslim communities, generations of artists, scientists and philosophers? Scientific pursuits, philosophic inquiry and artistic endeavour are all seen as the response of the faithful to the recurring call of the Qur'an to ponder the creation as a way to understand Allah's benevolent majesty. As Sura al-Baqara proclaims: 'Wherever you turn, there is the face of Allah.'"

His Highness the Aga Khan's 2003 Address to the International Colloquium 'Word of God, Art of Man: The Qur'an and its Creative Expressions' organised by The Institute of Ismaili Studies (London, United Kingdom) — Aga Khan

When lovely woman stoops to folly And finds too late that men betray What charm can soothe her melancholy What art can wash her guilt away? — Julia London

Four years in England had filled Obi with a longing to be back in Umuofia. This feeling was sometimes so strong that he found himself feeling ashamed of studying English for his degree. He spoke Ibo whenever he had the least opportunity of doing so. Nothing gave him greater pleasure than to find another Ibo-speaking student in a London bus. But when he had to speak in English with a Nigerian student from another tribe he lowered his voice. It was humiliating to have to speak to one's countryman in a foreign language, especially in the presence of the proud owners of that language. They would naturally assume that one had no language of one's own. He wished they were here today to see. Let them come to Umuofia now and listen to the talk of men who made a great art of conversation. Let them come and see men and women and children who knew how to live, whose joy of life had not yet been killed by those who claimed to teach other nations how to live. — Chinua Achebe

I used to have a list of things from my school buddies of what kind of art material they wanted. I'd go up to the West End of London and spend the whole day knocking stuff off. — Ronald Biggs

"The [London] Times" has published no rumours; it's only reported facts, namely that other, less responsible papers are publishing certain rumours. — Tom Stoppard

I love an art-school girl. I mean ... don't we all? — Theophilus London

Art that serves an artist best is an experiment in expanding awareness. — Peter London

In my gap year between college and drama school, I taught art at a hospice and worked at a little coffee shop across the street from Shakespeare's Globe Theatre in London when everything around it was still a construction zone. — Juliet Rylance

What passes for wine among us, is not the juice of the grape. It is an adulterous mixture, brewed up of nauseous ingredients, by dunces, who are bunglers in the art of poison-making; and yet we, and our forefathers, are and have been poisoned by this cursed drench, without taste or flavour - The only genuine and wholesome beveridge in England, is London porter, and Dorchester table-beer; but as for your ale and your gin, your cyder and your perry, and all the trashy family of made wines, I detest them as infernal compositions, contrived for the destruction of the human species. — Tobias Smollett

I have mastered many things in my life. Navigating the streets of London, speaking French without an accent, dancing the quadrille, the Japanese art of flower arranging, lying at charades, concealing a highly intoxicated state, delighting young women with my charms ... "
Tessa stared.
"Alas," he went on, "no one has ever actually referred to me as 'the master,' or 'the magister,' either. More's the pity ... — Cassandra Clare

London thou art a jewel of jewels, & jasper of jocunditie -- music, talk, friendship, city views, books, publishing, something central & inexplicable. — Virginia Woolf

The people of that age were phrase slaves. The abjectness of their servitude is incomprehensible to us. There was a magic in words greater than the conjurer's art. So befuddled and chaotic were their minds that the utterance of a single word could negative the generalizations of a lifetime of serious research and thought. Such a word was the adjective UTOPIAN. The mere utterance of it could damn any scheme, no matter how sanely conceived, of economic amelioration or regeneration. Vast populations grew frenzied over such phrases as "an honest dollar" and "a full dinner pail." The coinage of such phrases was considered strokes of genius. — Jack London

The surpluses will have to be expended somehow, and trust the oligarchs to find a way. Magnificent roads will be built. There will be great achievements in science, and especially in art. When the oligarchs have completely mastered the people, they will have time to spare for other things. They will become worshippers of beauty. They will become art-lovers. And under their direction and generously rewarded, will toil the artists. The result will be great art; for no longer, as up to yesterday, will the artists pander to the bourgeois taste of the middle class. It will be great art, I tell you, and wonder cities will arise that will make tawdry and cheap the cities of old time. And in these cities will the oligarchs dwell and worship beauty — Jack London

At the art college in Edinburgh someone arranged for some London groups to come up and play. I was in a supporting band, with Bernie Green I think. Derek Bailey was one of the visiting musicians. He seemed to like my playing and asked me to come down to London. — Jamie Muir

Washington, D.C., has everything that Rome, Paris and London have in the way of great architecture - great power bases. Washington has obelisks and pyramids and underground tunnels and great art and a whole shadow world that we really don't see. — Dan Brown

I love the art of acting, so whether I do it on film with a million people seeing me or I do it in front of 20 people in a class showcasing my art, I am going to act whether anyone sees it or everyone sees it. — Lauren London

I was filming a movie in London, and I drove through Ireland. It was quite beautiful, and the countryside was really remarkable. The contrast between the countryside and Ireland, and the murals there, with Northern Ireland still being a part of the United Kingdom, there's just a stark contrast in those two things. And I found that the art that came out of the conflict was really spectacular because it was about remembering either events or points of view for local neighborhoods, or the rallying cries of one side against the other. — Vince Vaughn

If London is a watercolor, New York is an oil painting. — Peter Shaffer

But now the train had finally begun to move, and Albie had switched the fearless truth-telling eye of his camera lens from his untied laces to the walls of the tunnels under east London, because you can never have enough pictures of dirty concrete. — David Nicholls

To me, my brand is luxury, it's art, it's women, it's raw, it's urban. — Theophilus London

Mason prefers to switch over to Tea, when it is Dixon's turn to begin shaking his head. "Can't understand how anyone abides that stuff." "How so?" Mason unable not to react. "Well, it's disgusting, isn't it? Half-rotted Leaves, scalded with boiling Water and then left to lie, and soak, and bloat?" "Disgusting? this is Tea, Friend, Cha, - what all tasteful London drinks, - that," pollicating the Coffee-Pot, "is what's disgusting." "Au contraire," Dixon replies, "Coffee is an art, where precision is all, - Water-Temperature, mean particle diameter, ratio of Coffee to Water or as we say, CTW, and dozens more Variables I'd mention, were they not so clearly out of thy technical Grasp, - — Thomas Pynchon

The London 'Academy' has seen fit recently to scoff at the critics who have been exercising themselves ove rthe so-called art of the Short Story ... But the new Short Story has gained more individuality. It supports the magazines and has invaded the newspapers — Henry Seidel Canby

I went to the London Academy Of Music and Dramatic Art and returned to New York where I started my career. — David Naughton

We seem to have lost contact with the earlier, more profound functions of art, which have always had to do with personal and collective empowerment, personal growth, communion with this world, and the search for what lies beneath and above this world. — Peter London

I cannot help remembering a remark of De Casseres. It was over the wine in Mouquin's. Said he: The profoundest instinct in man is to war against the truth; that is, against the Real. He shuns facts from his infancy. His life is a perpetual evasion. Miracle, chimera and to-morrow keep him alive. He lives on fiction and myth. It is the Lie that makes him free. Animals alone are given the privilege of lifting the veil of Isis; men dare not. The animal, awake, has no fictional escape from the Real because he has no imagination. Man, awake, is compelled to seek a perpetual escape into Hope, Belief, Fable, Art, God, Socialism, Immortality, Alcohol, Love. From Medusa-Truth he makes an appeal to Maya-Lie — Jack London

Cruelty, as a fine art, has attained its perfect flower in the trained-animal world. — Jack London

I love New York City. The energy, the theatre, the art, the food, the people, the parks and streets. But I could say the same of London or Paris, too. — Pierce Brosnan

I was a student in London in the '70s, so CBGB really wasn't on my radar at all. Obviously, I was aware of the emergence of the Police in England and as an art student, I was very aware of David Byrne, but I suppose my musical taste at that time certainly didn't stretch towards the Dead Boys or the Ramones. — Alan Rickman

It is not quite accurate to say that the objective of art is to represent what happens to us as a consequence of encountering the world. A fuller description of the task would be to say our aim is to discover what happens to us as we consider things. — Peter London

He knows I have a soft spot for RLS and not just because he was sick or because we have the same initials but because there's something impossibly romantic about him and because before he started writing Treasure Island he first drew a map of an unknown island and because he believed in invisible places and was one of the last writers to know what the word adventure means. I could give you a hundred reasons why RLS is The Man. Look in his The Art of Writing (Book 683, Chatto & Windus, London) where he says that no living people have had the influence on him as strong for good as Hamlet or Rosalind. Or when he says his greatest friend is D'Artagnan from The Three Musketeers (Book 5, Regent Classics, London). RLS said: 'When I suffer in mind, stories are my refuge, I take them like opium.' And when you read Treasure Island you feel you are casting off. That's the thing. You are casting off and leaving behind the ordinary dullness of the world. — Niall Williams

So poetry, which is in Oxford made An art, in London only is a trade. — John Dryden

People who talk of the spread of music in England and the increasing love of it, rarely seem to know where the growth of the art is really strong and properly fostered: some day the press will awake to the fact, already known abroad and to some few of us in England, that the living centre of music in Great Britain is not London, but somewhere further North. — Edward Elgar

I went to Goldsmith College of Art in London in the '80s and there I made sculptures, but the objects had nothing to do with how I was thinking. I was making beautifully sanded wooden boxes! — Sam Taylor-Wood

Blaise decided that the thing he would remember most about this London was the sour stink of it. The overripe foulness of the streets made him gag, and when a woman emptied a chamber pot from a top window, nearly catching him in its spray, he bent over and wretched, much to the Nightsneaks' amusement. — Teresa Flavin

I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form. — William Monahan

When I'm in London, Claridge's is a great favourite. I'm a big fan of art deco architecture and the rooms are extraordinary. — Roman Coppola

Through the window I looked across the oil-black Tigris at the Green Zone, lit up like Disneyland in Dystopia. I thought about J.G. Ballard's novel High Rise, where a state-of-the-art London tower block is the vertical stage for civilization to unpeel itself until nothing but primal violence remains. — David Mitchell

His OFELLUS in the Art of Living in London, I have heard him relate, was an Irish painter, whom he knew at Birmingham, and who had practiced his own precepts of economy for several years in the British capital. He assured Johnson, who, I suppose, was then meditating to try his fortune in London, but was apprehensive of the expence, 'that thirty pounds a year was enough to enable a man to live there without being contemptible. He allowed ten pounds for cloaths and linen. He said a man might live in a garret at eighteen-pence a week; few people would inquire where he lodged; and if they did, it was easy to say, "Sir, I am to be found at such a place." By spending three-pence in a coffee-house, he might be for some hours every day in very good company; he might dine for six-pence, breakfast on bread and milk for a penny, and do without supper. On clean-shirt day he went abroad, and paid visits. — James Boswell

You don't have to go to New York and you don't have to go to LA or London. Go somewhere cheap. Go somewhere with free art museums and then just go to art museums. — Jessa Crispin

I have no real training in the history of fine art or furniture; my eye just works by proportions. I react intuitively. In London, it's all about color because the weather is so gray, and in that cold light they look beautiful. — Mario Testino

In Britain, chinoiserie was eclipsed by the medievalism of Sir Walter Scott and the Gothic Revival, while in Europe japonisme would be chinoiserie's successor. Japonisme never compelled the general middle-class British taste as did the indigenous medieval style. Nonetheless, through extensive importations to Britain of Japanese art and artifacts, notably by the shop Liberty's of London, as well as through the artists James McNeill Whistler and Dante Gabriel Rossetti, the architect E.W. Godwin, and the writer Oscar Wilde, the Japanese style of decoration was known in Britain well before 1894. — Linda Gertner Zatlin

Check out London, Manhattan, Aspen and East Hampton real estate prices, as well as high-end art prices, to see what the leading edge of hyperinflation could look like. — Paul Singer

I went to comprehensive school in North London and left without any qualifications [diploma]. And I was doing bits of acting and improv in a drama club in the evenings. Then I discovered you didn't need qualifications to go to art school, you just needed a body of work. — Joe Wright

The most expensive bottle of wine ever sold - a 1787 Chateau Lafite Bordeaux, supposedly once the property of Thomas Jefferson ... It was sold at Christie's in London in 1985 for $156,000.00. Like a lot of high-priced art, the bottle is essentially undrinkable. — Robert Genn

I remembered the taste of good Italian coffee in my London flat, brewed at the expense of time and a good deal of mess, compared to the sort that came out of machines in the office at the press of a button. I remembered walking to art school, through the windy winter, over hills and heaths: how much gladder I was to reach the rich warmth and to toast my hands on a radiator, than if I had gone by car. I remembered the nickels my father gave me as a child for being good: how much more I valued them than I would a dollar bill given all at once for no reason. Of course God as the ultimate parent could give happiness for the asking, just as my father could have given a handful of dollar bills, but at the age of five would I have known its value, or would it have looked to me just like a wad of grubby green paper? — Sumangali Morhall

It was a clear autumn day Sunday in 1876; Vincent van Gogh, twenty-three years old, left the English boarding school where he was teaching to give a sermon at a small Methodist church in Richmond, a humble London suburb. Standing in front of the lectern, he felt like a lost soul emerging from the dark cave in which he had been buried.

The sermon, which survives among Vincent's collected letters, reiterates universal ideas and is not an outstanding example of the art of homiletics. Nevertheless, his words grew out of his tormented life and had an intense emotional charge. Preaching to the congregation, he was also preaching to himself -- and of himself. The images he used were the same as those that were to be given powerful expression in his pictures.

The text chosen for the sermon was Psalm 119:19, 'I am a stranger on the earth, hide not Thy commandments from me.' — Albert J. Lubin

I've mastered many thing's in my life. Navigating the streets of London, dancing the quadrille, the Japanese art of flower arranging, lying at charades, concealing a highly intoxicated state, delighting young women with my charms ... "
Tessa stared.
"Alas," he went on, "no one has ever actually referred to me as 'the master' or 'the magister', either. More's the pity ... "
"Are you highly intoxicated at the moment? — Cassandra Clare

Like Keats he may wander through the old-world forests of Latmos, or stand like Morris on the galley's deck with the Viking when king and galley have long since passed away. But the drama is the meeting-place of art and life; it deals, as Mazzini said, not merely with man, but with social man, with man in his relation to God and to Humanity. It is the product of a period of great national united energy; it is impossible without a noble public, and belongs to such ages as the age of Elizabeth in London and of Pericles at Athens; it is part of such lofty moral and spiritual ardour as came to Greek after the defeat of the Persian fleet, and to Englishman after the wreck of the Armada of Spain. — Oscar Wilde

And so, he knows. He wants, he needs, to do the immoral, irresponsible thing. He wants to let this boy court his own destruction. He wants to commit that cruelty. Or (kinder, gentler version) he doesn't want to reconfirm his allegiance to the realm of the sensible, all the good people who take responsibility, who go to the right and necessary parties, who sell art made of two-by-fours and carpet remnants. He wants, for at least a little while, to live in that other, darker world - Blake's London, Courbet's Paris; raucous, unsanitary places where good behavior was the province of decent, ordinary people who produced no works of genius. — Michael Cunningham

Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn't get all cynical about them just because Banksy made some money. I collaborate sometimes with Krae, who is an old school east London graffiti writer. — Robert Montgomery

Is Dust immortal then, I ask'd him, so that we may see it blowing through the Centuries? But as Walter gave no Answer I jested with him further to break his Melancholy humour: What is Dust, Master Pyne?
And he reflected a little: It is particles of Matter, no doubt.
Then we are all Dust indeed, are we not?
And in a feigned Voice he murmered, For Dust thou art and shalt to Dust return. Then he made a Sour face, but only yo laugh the more. — Peter Ackroyd

Love is the sum of all the arts, as it is the reason for their existence. — Jack London

Excellence in art is to be attained only by active effort, and not by passive impressions; by the manly overcoming of difficulties, by patient struggle against adverse circumstance, by the thrifty use of moderate opportunities. The great artists were not rocked and dandled into eminence, but they attained to it by that course of labor and discipline which no man need go to Rome or Paris or London to enter upon. — George Stillman Hillard

By bringing Little Sun to Tate Modern and the London Olympics, I hope to realise an art project for those who typically have no access to global events of this scale. — Olafur Eliasson

Jealousy also forms the theme for many well-known works of literature as well as art. Agnolo Bronzino's 'Venus, Cupid, Folly and Time', painted in 1545, which hangs in the National Gallery in London, shows a nude Venus with Cupid kissing her, his hand on her breast, as Father Time, depicted by an old man, watches on. A dark figure howling in agony just behind them is Jealousy. — Preeti Shenoy

[The Edwardian era] was a time of booming trade, of great prosperity and wealth in which the pageant of London Society took place year after year in a setting of traditional dignity and beauty. The great houses - Devonshire, Dorchester, Grosvenor, Stafford and Lansdowne House - had not yet been converted into museums, hotels and flats, and there we danced through the long summer nights till dawn. The great country-houses still flourished in their glory, and on their lawns in the green shade of trees the art of human intercourse was exquisitely practised by men and women not yet enslaved by household cares and chores who still had time to read, to talk, to listen and to think. — Violet Bonham Carter

An image, a dance step, a song may function from time to time as entertainment, but the root and full practice of the arts lies in the recognition that art is power, an instrument of communion between the self and all that is important, all that is sacred. — Peter London