Vermeer Quotes

“The way in which art creates desire, I guess that’s everywhere. Is there anyone who hasn’t come out of a movie or a play or a concert filled with an unnameable hunger? … To stand in front of one of [Louis Sullivan’s] buildings and look up, or in front, say, of the facade of Notre Dame, is both to have a hunger satisfied that you maybe didn’t know you had, and also to have a new hunger awakened in you. I say “unnameable,” but there’s a certain kind of balance achieved in certain works of art that feels like satiety, a place to rest, and there are others that are like a tear in the cosmos, that open up something raw in us, wonder or terror or longing. I suppose that’s why people who write about aesthetics want to distinguish between the beautiful and sublime… Beauty sends out ripples, like a pebble tossed in a pond, and the ripples as they spread seem to evoke among other things a stirring of curiosity. The aesthetic effect of a Vermeer painting is a bit like that. Some paradox of stillness and motion. Desire appeased and awakened.”

“Great paintings—people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like. And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch. But if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art. It’s a secret whisper from an alleyway. Psst, you. Hey kid. Yes you. An individual heart-shock. Your dream, Welty’s dream, Vermeer’s dream. You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum gift shop sees something else entire, and that’s not even to mention the people separated from us by time—four hundred years before us, four hundred years after we’re gone—it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all but—a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. Yours, yours. I was painted for you. And—oh, I don’t know, stop me if I’m rambling… but Welty himself used to talk about fateful objects. Every dealer and antiquaire recognizes them. The pieces that occur and recur. Maybe for someone else, not a dealer, it wouldn’t be an object. It’d be a city, a color, a time of day. The nail where your fate is liable to catch and snag.”

“Picasso said that art is a lie, but a lie that tells the truth" ... Calder wondered what Picasso had meant. Was it that art wasn't exactly the real world, but it said something real?”

“The greatest art belongs to the world. Do not be intimidated by the experts. Trust your instincts. Do not be afraid to go against what you were taught, or what you were told to see or believe. Every person, every set of eyes, has the right to the truth.”

“An artist must paint not simply surface light but what is inside, what he sees within his subject”

“An artist must paint not simply surface light, but what is inside, what he sees within his subject”

“Orozco's despair was not just in finding himself poor, but in discovering that effort, honest intentions, and gentlemanly status had nothing to do with sucess in a commercial economy.”

“We should all realize that we can only talk about the bad forgeries, the ones that have been detected; the good ones are still hanging on the walls”

“This is the second Old Master I have encountered that has the signatures of another artist forged over it. A painting that has been created by another artist entirely. It's like they played mix and match.”