Clive Bell Quotes

...why do people venerate Einstein or Bill Gates? Clive Bell explains: Genius worship is the inevitable sign of an uncreative age....

Don't let your dreams rust! Listen to your youthful bells ringing loud inside of you.

I have been using art as a means to the emotions of life and reading into it the ideas of life.

Clive Bell said, “The essential characteristic of a highly civilized society is not that it is creative but that it is appreciative.

Normally, we don’t consider the audience in the genius equation. We assume that they are merely the passive recipients of the gifts that the genius bestows. They are much more than that, though. They are the appreciators of genius, and as art critic Clive Bell said, “The essential characteristic of a highly civilized society is not that it is creative but that it is appreciative.” By that measure, Vienna was the most highly civilized society to grace the planet. Mozart

...a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves.

The critic can affect my aesthetic theories only by affecting my aesthetic experience. All systems of aesthetics must be based on personal experience--that is to say, they must be subjective.

Leslie Stephen died in 1904. In that year his children retreated to Wales for a period and then travelled in Italy. Vanessa and Virginia went on to Paris, where they met up with Clive Bell. On returning to London, Virginia suffered a severe, suicidal breakdown.

Art and relligion are not professions: they are not occupations for which men can be paid. The artist and the saint do what they have to do, not to make a living, but in obedience to some mysterious necessity. They do not product to live - they live to produce.

So intent was Frank upon solving the puzzle of Lemarchand’s box that he didn’t hear the great bell begin to ring.

They are the appreciators of genius, and as art critic Clive Bell said, “The essential characteristic of a highly civilized society is not that it is creative but that it is appreciative.” By that measure, Vienna was the most highly civilized society to grace the planet. Mozart didn’t compose for an audience but for audiences. One audience was the wealthy patrons—nobles, typically, including the emperor himself. Another audience was the city’s finicky music critics. A third was the public at large, middle-class concertgoers or dust-caked street sweepers attending an open-air, and free, performance. Musical Vienna was not a solo performance. It was a symphony, often harmonious, occasionally discordant, never dull. Mozart was no freak of nature. He was part of a milieu, a musical ecosystem so rich and varied it practically

Collins had exposed the fallacy of modern aesthetics to me, "… the whole argument from significant form stands or falls by volume. If you allow Cézanne to represent a third dimension on his two-dimensional canvas, then you must allow Landseer his gleam of loyalty in the spaniel's eye" ... but it was not until Sebastian, idly turning the pages of Clive Bell’s Art, read "'Does anyone feel the same kind of emotion for a butterfly or a flower that he feels for a cathedral or a picture?' Yes, I do," that my eyes were opened.

The bare bulb in the middle of the room dimmed and brightened, brightened and dimmed again. It had taken on the rhythm of the bell, burning its hottest on each chime. In the troughs between the chimes the darkness in the room became utter; it was as if the world he had occupied for twenty-nine years had ceased to exist. Then the bell would sound again, and the bulb burn so strongly it might never have faltered, and for a few precious seconds he was standing in a familiar place, with a door that led out and down and into the street, and a window through which-had he but the will (or strength) to tear the blinds back-he might glimpse a rumor of morning.

octagonal barrel flickered

In 1892, mine owner L. L. Nunn had hired the electrical wizard Nikola Tesla to build the world’s first alternating-current power

you cannot imagine a boundary line without any content, or a content without a boundary line.

يجب ألا نتذوق أو نقيم العمل الفني من وجهة نظر اهتماماتناالشخصية أو اعتقاداتنا أو عواطفنا أو تحيزاتنا الثقافية، بل من وجة نظر العمل نفسه وبناءً على الصفات أو الكيفيات الكامنة في الشكل الدال. فالشكل الدال وحده هو أساس الخبرة الجمالية ومصدرها. وبعبارة اخرى. علينا أن نتذوق العمل الفني موضوعياً، من ذاته ولأجل ذاته. هذه المقولة هي أساس ما يسمى عادة "النزهة الجمالية

The Bloomsbury Group has been characterised as a liberal, pacifist, and at times libertine, intellectual enclave of Cambridge-based privilege. The Cambridge men of the group (Bell, Forster, Fry, Keynes, Strachey, Sydney-Turner) were members of the elite and secret society of Cambridge Apostles. Woolf’s aesthetic understanding, and broader philosophy, were in part shaped by, and at first primarily interpreted in terms of, (male) Bloomsbury’s dominant aesthetic and philosophical preoccupations, rooted in the work of G. E. Moore (a central influence on the Apostles), and culminating in Fry’s and Clive Bell’s differing brands of pioneering aesthetic formalism. ‘The main things which Moore instilled deep into our minds and characters,’ Leonard Woolf recalls, ‘were his peculiar passion for truth, for clarity and common sense, and a passionate belief in certain values.’ Increasing awareness of Woolf’s feminism, however, and of the influence on her work of other women artists, writers and thinkers has meant that these Moorean and male points of reference, though of importance, are no longer considered adequate in approaching Woolf’s work, and her intellectual development under the tutelage of women, together with her involvement with feminist thinkers and activists, is also now acknowledged.

The 1970s and 1980s: feminism, androgyny, modernism, aesthetics In the 1970s and 1980s, Woolf studies expanded in a number of directions, most notably in relation to feminism. Critical interest in Woolf developed at the same time as feminism developed in related academic disciplines. In this period her writings became central to the theoretical framing of feminism, in particular to debates on Marxist and materialist feminism and to the emergent theories of androgyny. Both these areas of debate takeWoolf ’s A Room of One’s Own as a major point of reference... ........... At the same time as feminist approaches to Woolf were developing and expanding, so, too, was the critical interest in her modernist theories and her formal aesthetics. Again, Woolf ’s writing became central to critical and theoretical formulations on modernism. .......... This period also saw considerable critical interest in the influence of the visual arts on Woolf ’s writing, and particularly in the influence of the formalist theories of her Bloomsbury colleagues Roger Fry and Clive Bell.

By the close of the nineteenth century her studies with her father were being supplemented by tuition in the classics from Dr Warr of King’s College, Kensington, and from Clara Pater, sister of the English essayist and critic Walter Pater (1839–94). Woolf was very fond of Clara and an exchange between them later became the basis for her short story ‘Moments of Being: Slater’s Pins Have No Points’ (1928). Thoby boarded at Clifton College, Bristol, Adrian was a dayboy at Westminster School, and Vanessa attended Cope’s School of Art. Thoby, and later Adrian, eventually went to Trinity College, Cambridge, and Vanessa undertook training in the visual arts (attending the Slade School of Fine Art for a while). From 1902 Virginia’s tuition in classics passed from Clara Pater to the very capable Janet Case, one of the first graduates from Girton College, Cambridge, and a committed feminist. The sisters visited Cambridge a number of times to meet Thoby, whose friends there included Clive Bell 1881–1964), Lytton Strachey (1880– 1932), Leonard Woolf (1880–1969) and Saxon Sydney-Turner.

I read a heap of books to prepare to write my own. Valuable works about art crime include The Rescue Artist by Edward Dolnick, Master Thieves by Stephen Kurkjian, The Gardner Heist by Ulrich Boser, Possession by Erin Thompson, Crimes of the Art World by Thomas D. Bazley, Stealing Rembrandts by Anthony M. Amore and Tom Mashberg, Crime and the Art Market by Riah Pryor, The Art Stealers by Milton Esterow, Rogues in the Gallery by Hugh McLeave, Art Crime by John E. Conklin, The Art Crisis by Bonnie Burnham, Museum of the Missing by Simon Houpt, The History of Loot and Stolen Art from Antiquity Until the Present Day by Ivan Lindsay, Vanished Smile by R. A. Scotti, Priceless by Robert K. Wittman with John Shiffman, and Hot Art by Joshua Knelman. Books on aesthetic theory that were most helpful to me include The Power of Images by David Freedberg, Art as Experience by John Dewey, The Aesthetic Brain by Anjan Chatterjee, Pictures & Tears by James Elkins, Experiencing Art by Arthur P. Shimamura, How Art Works by Ellen Winner, The Art Instinct by Denis Dutton, and Collecting: An Unruly Passion by Werner Muensterberger. Other fascinating art-related reads include So Much Longing in So Little Space by Karl Ove Knausgaard, What Is Art? by Leo Tolstoy, History of Beauty edited by Umberto Eco, On Ugliness also edited by Umberto Eco, A Month in Siena by Hisham Matar, Art as Therapy by Alain de Botton and John Armstrong, Art by Clive Bell, A Philosophical Enquiry into the Sublime and Beautiful by Edmund Burke, Seven Days in the Art World by Sarah Thornton, The Painted Word by Tom Wolfe, and Intentions by Oscar Wilde—which includes the essay “The Critic as Artist,” written in 1891, from which this book’s epigraph was lifted.

Why? What is his intention? Have you at least discovered that?” “The same as ours, we think,” Felixson said. “The getting and keeping of power. He hasn’t just taken our treaties, scrolls, and grimoires. He’s cleared out all the vestments, all the talismans, all the amulets—” “Hush,” Ragowski said suddenly. “Listen.” There was a silence among them for a moment, and then a funereal bell chimed softly in the distance. “Oh Christ,” Lili said. “It’s his bell.” The dead man laughed. “He’s found you.

Rakkaus - - vaanii meitä kuin kuolema ja verot.

it is now clear to me that behind a façade of amiable bumbling, you are extremely well informed about your fellow spies. In fact, I suspect you know more about them than the ships you’re supposed to be spying on.

Finally, slowly, like a newly lighted oil lamp gathering kerosene up into its wick, Wally’s face began to glow. He turned to Mack Fulton. “Mack, you know what’s on my mind?

The representative element in a work of art may or may not be harmful; always it is irrelevant. For, to appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs, no familiarity with its emotions. Art

Diana had been finishing up a session with the Russian artist and mosaicist Boris Anrep at the National Gallery when the messenger arrived. Anrep had asked eleven friends to model for the nine Muses, plus Apollo and Dionysus, that he was depicting on a mosaic floor in the entryway to the famous museum. The chosen few were draped in togas and arranged in languid positions—Clive Bell as Dionysus, Virginia Woolf as Clio, Greta Garbo as Melpomene, and Diana as Polyhymnia, muse of sacred music and oratory, and so on—when a uniformed man clomped into the private

We have no other means of recognising a work of art than our feeling for it. The objects that provoke aesthetic emotion vary with each individual.

She could not therefore accompany Clive on his day visit to Arezzo and was stung with envy on hearing his account of Piero della Francesca’s frescos based on the story of the True Cross. She greatly admired this artist and catches an echo

What is the significance of anything as an end in itself? What is that which is left when we have stripped a thing of all its associations, of all its significance as a means? What is left to provoke our emotion? What but that which philosophers used to call "the thing in itself" and now call "ultimate reality"? Shall I be altogether fantastic in suggesting, what some of the profoundest thinkers have believed, that the significance of the thing in itself is the significance of Reality? Is it possible that the answer to my question, "Why are we so profoundly moved by certain combinations of lines and colours?" should be, "Because artists can express in combinations of lines and colours an emotion felt for reality which reveals itself through line and colour"?

radioman Schmidt says he’s picking up a faint signal.

Isaac Bell slowly laid his cards on the table one by one. “A straight flush,

JANUARY 10, 1906 BISBEE, ARIZONA

It was the cash that brought him to Bisbee, not the prized yellow metal.

The derelict removed a model 1902 Colt .38 caliber automatic from his boot,

LATE IN THE MORNING, A MAN DROVE AN OLD WAGON, hitched to a pair of mules,

past the cemetery outside the town of Rhyolite, Nevada.

Black hair fell past his neck but just short of the shoulders. His head was protected by a stained Mexican sombrero.

APRIL 15, 1950 FLATHEAD LAKE, MONTANA

ANYONE SEEING AN OLD DERELICT SOT SLOWLY SWAYING down Moon Avenue in Bisbee that afternoon

But gold was not what piqued his interest. It was too heavy and too risky for one man to dispose of.

jerkwater town—so named because the engineer jerked a chain to get water flowing from the towering cisterns—to satisfy the locomotive’s unquenchable thirst.

She’s in remarkably good shape for sitting underwater for almost fifty years,

The man’s head nodded to his chest; he looked like a drunk who had dozed off. But it was an act.

CONSTRUCTION ON SAN QUENTIN PRISON BEGAN auspiciously on Bastille Day, July 14, 1852.

Why it was later named after a notorious inmate

serving time for murder whose name was Miguel Quentin is anybody’s guess.

Significant Form" is the one quality common to all works of visual art.

pistol,

Depredation?

humans. “How did they get here? How could a train come to be lost in the middle of the lake all these years?” The tall man gazed out over the calm

voluminous

CCP analyst Jichang Lulu has explored the localisation of united front influence activities in the Nordic countries, where local officials with considerable decision-making power are targeted for ‘friendly contact’ because they are insulated from strategic debates in the capital cities and do not have the expertise to understand Beijing’s intentions and tactics.1 He notes that Beijing has been actively cultivating political influence in Greenland, which Beijing sees as important for resource supply and for being an Arctic state. The strategy includes investments, an attempt to acquire a derelict naval base, and political work on Greenland’s elites, activities that have rung alarm bells in Denmark.

...but it was not until Sebastian idly turning the page of Clive Bell's Art, read: '“Does anyone feel the same kind of emotion for a butterfly or a flower that he feels for a cathedral or a picture?” Yes. I do,' that my eyes were opened.

The Bloomsbury Group continued to weave its complicated web of literary, artistic and sexual relations. In 1911, Roger Fry began an affair with Vanessa Bell. Vanessa eventually transferred her affections to one of the Dreadnought hoaxers, Duncan Grant, who was predominantly gay, but who fathered a daughter by her in 1918. The child, Angelica, was raised by Vanessa’s husband, Clive, as his own. In 1916, Vanessa and Grant acquired a Sussex farmhouse, Charleston, which they shared with Grant’s lover, David Garnett, whom Angelica married in 1942. By then, Vanessa’s younger sister, Virginia, was dead. Plagued with bouts of mental illness throughout her life – 1910 was a particularly bad year – she had drowned herself in the River Ouse in 1941.