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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
Carried
Picasso
Ancient
Demonstrate
Century
Prevail
Values
Orders
Art
Imitation
Order
Earlier
Done
Centuries
Aesthetic
Perpetuate

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No dealer, curator, buyer or critic, or any existing combination of these, can be depended on to produce a reputation that is more than a momentary flurry.
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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. Advanced art today is no longer a cause -it contains no moral imperative. There is no virtue in clinging to principles and standards, no vice in selling or in selling out.
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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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American time has stretched around the world. It has become the dominant tempo of modern history, especially of the history of Europe.
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Loiter in the neighborhood of a problem. After a while a solution strolls by.
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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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In reality, however, an artist is a product of art
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Avant-gardism is an addiction that can be appeased only by a revolution in permanence.
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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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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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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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What better way to prove that you understand a subject than to make money out of it?
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Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.
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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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A painter with prestige among painters is bound to be discovered sooner or later.
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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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Kitsch is the daily art of our time, as the vase or the hymn was for earlier generations. For the sensibility it has that arbitrariness and importance which works take on when they are no longer noticeable elements of the environment. In America kitsch is Nature. The Rocky Mountains have resembled fake art for a century.
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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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