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Imitation of the art of earlier centuries, as that done by Picasso and Modigliani , is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.

Harold Rosenberg

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Harold Rosenberg
Age: 72 †
Born: 1906
Born: February 2
Died: 1978
Died: July 11
Art Critic
Art Historian
Journalist
Philosopher
Teacher
Writer
New York City
New York
Aesthetic
Perpetuate
Carried
Picasso
Ancient
Demonstrate
Century
Prevail
Values
Orders
Art
Imitation
Order
Earlier
Done
Centuries

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In the United States, revolts tends to be directed against specific situations, rarely against the social structure as a whole.
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What better way to prove that you understand a subject than to make money out of it?
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Avant-gardism is an addiction that can be appeased only by a revolution in permanence.
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Loiter in the neighborhood of a problem. After a while a solution strolls by.
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Kitsch is art that follows established rules in a time when all rules in art are put into question by each artist.
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An artist is a person who has invented an artist.
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No degree of dullness can safeguard a work against the determination of critics to find it fascinating.
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The aim of every authentic artist is not to conform to the history of art, but to release himself from it in order to replace it with his own history.
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The artist does not exist except as a personification, a figure of speech that represents the sum total of art itself. It is painting that is the genius of the painter, poetry of the poet, and a person is a creative artist to the extent that he participates in that genius.
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The big moment came when it was decided to paint...Just To Paint. The gesture on the canvas was a gesture of liberation, from Value- political, aesthetic, moral.
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In reality, however, an artist is a product of art
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The story of Americans is the story of arrested metamorphoses. Those who achieve success come to a halt and accept themselves as they are. Those who fail become resigned and accept themselves as they are.
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Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it.
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The struggle to make an absolute statement in an individually conceived vocabulary accounts for the profound tensions inherent in the best modern work.
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For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group or, at best, one who collaborates, with secret reservations.
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A painter with prestige among painters is bound to be discovered sooner or later.
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Both art and the artist lack identity and define themselves only through their encounter with each other.
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How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.
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Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition.
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