Rilke Art Quotes & Sayings

Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them. — Rainer Maria Rilke

Works of art are born of those who confront danger, who go to the limit of an experience, to a point beyond which no human can go. The farther one ventures, the more distinctive, the more personal, the more unique life becomes. — Rainer Maria Rilke

Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his conscious reflection, his progressive steps, mysterious even to himself, should enter so swiftly into the work that he is unable to recognize them in the moment of transition. — Rainer Maria Rilke

Art is childhood. — Rainer Maria Rilke

Surely all art is the result of one's having been in danger, of having gone through an experience all the way to the end, where no one can go any further. — Rainer Maria Rilke

Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings. Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsay able than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life. — Rainer Maria Rilke

How they are all about, these gentlemen
In chamberlains' apparel, stocked and laced,
Like night around their order's star and gem
And growing ever darker, stony-faced,
And these, their ladies, fragile, wan, but propped
High by their bodice, one hand loosely dropped,
Small like its collar, on the toy King-Charles:
How they surround each one of these who stopped
To read and contemplate the objects d'art,
Of which some pieces still are theirs, not ours.
Whit exquisite decorum they allow us
A life of whose dimensions we seem sure
And which they cannot grasp. They were alive
To bloom, that is be fair; we, to mature,
That is to be of darkness and to strive. — Rainer Maria Rilke

No great art has ever been made without the artist having known danger. — Rainer Maria Rilke

As we know, Rilke, under the influence of Auguste Rodin, whom he had assisted between 1905 and 1906 in Meudon as a private secretary, turned away from the art nouveau-like, sensitized-atmospheric poetic approach of his early years to pursue a view of art determined more strongly by the priority of the object. The proto-modern pathos of making way for the object without depicting it in a manner 'true to nature', like that of the old masters, led in Rilke's case to the concept of the thing-poem - and thus to a temporarily convincing new answer to the question of the source of aesthetic and ethical authority. From that point, it would be the things themselves from which all authority would come - or rather: from this respectively current singular thing that turns to me by demanding my full gaze. This is only possible because thing-being would now no longer mean anything but this: having something to say. — Peter Sloterdijk

Things are not as easy to understand and say as we might prefer to believe; most events are inexpressible, happening in a space where no word has ever set foot, and most inexpressible of all are works of art, mysterious existences, whose life continues as ours passes away. — Rainer Maria Rilke

In the deepest hour of the night, confess to yourself that you would die if you were forbidden to write. And look deep into your heart where it spreads its roots, the answer, and ask yourself, must I write? — Rainer Maria Rilke

Works of art are of an infinite loneliness and with nothing so little to be reached as with criticism. Only love can grasp and hold and be just toward them. — Rainer Maria Rilke

Art too is just a way of living, and however one lives, one can, without knowing, prepare for it; in everything real one is closer to it, more its neighbor, than in the unreal half-artistic professions, which, while they pretend to be close to art, in practice deny and attack the existence of all art - as, for example, all of journalism does and almost all criticism and three quarters of what is called (and wants to be called) literature. — Rainer Maria Rilke

Most events are inexpressible, and take place in a sphere that no word has ever entered. Most inexpressible of all are works of art, existences full of secrets whose life continues alongside ours, while ours is transitory. — Rainer Maria Rilke

The aesthetic construct, and nothing else, has taught us to expose ourselves to a non-enslaving experience of rank differences. The work of art is even allowed to 'tell' us, those who have run away from form, something, because it quite obviously does not embody the intention to confine us. 'La poesie ne s'impose plus, elle s'expose' Something that exposes itself and proves itself in this test gains unpresumed authority. In the space of aesthetic simulation, which is at once the emergency space for the success and failure of the artistic construct, the powerless superiority of the works can affect observers who otherwise take pains to ensure that they have no lord, old or new, above them. — Peter Sloterdijk

most events are unutterable, consummating themselves in a sphere where word has never trod, and more unutterable than them all are works of art, whose life endures by the side of our own that passes away. — Rainer Maria Rilke

154Surely all art is the result of one's having been in danger, of having gone through an experience all the way to the end, to where no one can go any further. — Rainer Maria Rilke

A work of art is good if it has grown out of necessity. In this manner of its origin lies its true estimate: there is no other. Therefore, my dear Sir, I could give you no advice but this: to go into yourself and to explore the depths whence your life wells forth; at its source you will find the answer to the question whether you must create. — Rainer Maria Rilke

Nothing could be less conducive to reaching an art-work than critical remarks:it's always simply a matter of more or less fortunate misunderstandings. Everything cannot be so easily grasped and conveyed as we are generally led to believe; most events are unconveyable and come to pass in a space that no word has ever penetrated; more unconveyable than all else are art-works, whose mysterious existences, whose lives run alongside ours, which perishes, whereas theirs endure. — Rainer Maria Rilke

There is only one way: Go within. Search for the cause, find the impetus that bids you write. Put it to this test: Does it stretch out its roots in the deepest place of your heart? Can you avow that you would die if you were forbidden to write? Above all, in the most silent hour of your night, ask yourself this: Must I write? Dig deep into yourself for a true answer. And if it should ring its assent, if you can confidently meet this serious question with a simple, "I must," then build your life upon it. It has become your necessity. Your life, in even the most mundane and least significant hour, must become a sign, a testimony to this urge. — Rainer Maria Rilke

Works of art are infinitely solitary and nothing is less likely to reach them than criticism. Only love can grasp them and hold them and do them justice. — Rainer Maria Rilke

Art too is just a way of living. — Rainer Maria Rilke

Things are not all so comprehensible and expressible as one would mostly have us believe; most events are inexpressible, taking place in a realm which no word has ever entered, and more inexpressible than all else are works of art, mysterious existences, the life of which, while ours passes away, endures. — Rainer Maria Rilke

The critic said that once a year he read Kim; and he read Kim, it was plain, at whim: not to teach, not to criticize, just for love - he read it, as Kipling wrote it, just because he liked to, wanted to, couldn't help himself. To him it wasn't a means to a lecture or article, it was an end; he read it not for anything he could get out of it, but for itself. And isn't this what the work of art demands of us? The work of art, Rilke said, says to us always: You must change your life. It demands of us that we too see things as ends, not as means - that we too know them and love them for their own sake. This change is beyond us, perhaps, during the active, greedy, and powerful hours of our lives; but duringthe contemplative and sympathetic hours of our reading, our listening, our looking, it is surely within our power, if we choose to make it so, if we choose to let one part of our nature follow its natural desires. So I say to you, for a closing sentence, Read at whim! read at whim! — Randall Jarrell

Rainer Maria Rilke sacrificed everything
For his art he dedicated himself
To the Great Work

I admired his single-mindedness
All through my twenties
I argued his case

Now I think he was a jerk
For skipping his daughter's wedding
For fear of losing his focus

He believed in the ancient enmity
Between daily life and the highest work
Or Ruth and the Duino Elegies

It is probably a middle-class prejudice
Of mine to think that Anna Akhmatova
Should have raised her son Lev

Instead of dumping him on her husband's mom
Motherhood is a bright torture she confessed
I was not worthy of it

Lev never considered it sufficient
For her to stand outside his prison
Month after month clutching packages

And composing Requiem for the masses — Edward Hirsch

Rilke said that art can come only out of inner necessity. I write because I must. Or because I cannot not write. — Aleksandar Hemon

Because he loves only as man, not as human being, there is in his sexual feelings something narrow, seemingly wild, malicious, temporal, finite, which weakens his art and makes it equivocal and dubious. — Rainer Maria Rilke

My art is representational by choice ... if the art of painting is to survive, it must describe and express people, their lives and times. It must communicate. — Rainer Maria Rilke

We know from accounts of Rilke's life that his stay in Rodin's workshops taught him how modern sculpture had advanced to the genre of the autonomous torso. The poet's view of the mutilated body thus has nothing to do with the previous century's Romanticism of fragments and ruins; it is part of the breakthrough in modern art to the concept of the object that states itself with authority and the body that publicizes itself with authorization. — Peter Sloterdijk

The same sensitivity that opens artists to Being also makes them vulnerable to the dark powers of non-Being. It is no accident that many creative people
including Dante, Pascal, Goethe, Nietzsche, Kierkegaard, Beethoven, Rilke, Blake, and Van Gogh
struggled with depression, anxiety, and despair. They paid a heavy price to wrest their gifts from the clutches of non-Being. But this is what true artists do: they make their own frayed lives the cable for the surges of power generated in the creative force fields of Being and non-Being. (Beyond Religion, p. 124) — David N. Elkins

It is clear enough that not every something can be elevated to the rank of a thing - otherwise everything and everyone would be speaking once more, and the chatter would spread from humans to things. Rilke privileges two categories of 'entities' [Seienden), to express it in the papery diction of philosophy, that are eligible for the lofty task of acting as message-things - artifices and living creatures - with the latter gaining their particular quality from the former, as if animals were being's highest works of art before humans. Inherent to both is a message energy that does not activate itself, but requires the poet as a decoder and messenger. — Peter Sloterdijk

Works of art always spring from those who have faced the danger, gone to the very end of an experience, to the point beyond which no human being can go. The further one dares to go, the more decent, the more personal, the more unique a life becomes. — Rainer Maria Rilke

This resembles the slow discipline of art: it's the work that Rembrandt did, that Picasso and Yeats and Rilke and Bach did. Bucket work implies much more discipline than most men realize. — Robert Bly

And in fact the artist's experience lies so unbelievably close to the sexual, to its pain and its pleasure, that the two phenomena are really just different forms of one and the same longing and bliss. And if instead of "heat" one could say "sex";- sex in the great, pure sense of the word, free of any sin attached to it by the Church, - then his art would be very great and infinitely important. His poetic power is great and as strong as a primal instinct; it has its own relentless rhythms in itself and explodes from him like a volcano. — Rainer Maria Rilke