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As for the outside world, the artist is confronted by what he sees but what he sees is primarily what he looks at.

Andre Malraux

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Andre Malraux
Age: 75 †
Born: 1901
Born: November 3
Died: 1976
Died: November 23
Art Critic
Art Historian
Author
Film Director
Film Editor
Journalist
Novelist
Politician
Screenwriter
Writer
Paris
France
Georges-André Malraux
Andre Malraux
Georges-Andre Malraux
Sees
Outside
Artist
Looks
World
Confronted
Primarily

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In so far as he is a creator, the artist does not belong to a social group already moulded by a culture, but to a culture which he is by way of building up.
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The attempt to force human beings to despise themselves is what I call hell.
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You can only make art that talks to the masses when you have nothing to say to them.
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Christ...an anarchist who succeeded. That's all.
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An artist discovers his genius the day he dares not to please.
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Be careful -- with quotations, you can damn anything.
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There's no such thing as a grown up person.
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In a world in which everything is subject to the passing of time, art alone is both subject to time and yet victorious over it.
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There are not fifty ways of fighting, there's only one, and that's to win. Neither revolution nor war consists in doing what one pleases.
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In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art.
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To love a painting is to feel that this presence is ... not an object but a voice.
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Every creation is, at its root, the struggle between potential form and imitated form.
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The basic problem is that our civilization, which is a civilization of machines, can teach man everything except how to be a man.
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What is Man? A miserable little pile of secrets.
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Often the difference between a successful person and a failure is not one has better abilities or ideas, but the courage that one has to bet on one's ideas, to take a calculated risk - and to act.
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There is always a need for intoxication: China has opium, Islam has hashish, the West has woman.
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If modern painters feel qualms about applying the term masterpiece to describe a work of capital importance, this is because it has come to convey a notion of perfection: a notion that leads to much confusion when applied to artists other than those who made perfection their ideal.
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Here, reality is not subordinated to painting, indeed painting seems the handmaid of reality, though we feel it tending towards a procedure which, while not at the mercy of appearances, is not yet in conflict with them.
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The ordinary man puts up a struggle against all that is not himself, whereas it is against himself, in a limited but all-essential field, that the artist has to battle.
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Opium teaches only one thing, which is that aside from physical suffering, there is nothing real.
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