Odette

“I shielded my solitariness from them, and from the European future that they represented for me. I felt my solitary happiness threatened by their happiness of the herd, because they were stronger than me.
The happiness I feel here at the foot of the Third Tower is something I must not give up for anyone: for anyone, or anything. I cannot surrender my soul to any nation state, or to any set of beliefs.
(1936)”
― Antal Szerb, The Third Tower: Journeys in Italy

“Art is not a luxury. It stands at the essence of our humanity, and it asks for no special protection except the right to exist.”
― Salman Rushdie, Knife: Meditations After an Attempted Murder

“Attend a university if you possibly can. There is no content of knowledge that is not pertinent to the work you will want to do. But before you attend a university work at something for a while. Do anything. Get a job in a potato field; or work as a grease-monkey in an auto repair shop. But if you do work in a field do not fail to observe the look and the feel of earth and of all things that you handle — yes, even potatoes! Or, in the auto shop, the smell of oil and grease and burning rubber. Paint of course, but if you have to lay aside painting for a time, continue to draw. Listen well to all conversations and be instructed by them and take all seriousness seriously. Never look down upon anything or anyone as not worthy of notice. In college or out of college, read. And form opinions! Read Sophocles and Euripides and Dante and Proust. Read everything that you can find about art except the reviews. Read the Bible; read Hume; read Pogo. Read all kinds of poetry and know many poets and many artists. Go to and art school, or two, or three, or take art courses at night if necessary. And paint and paint and draw and draw. Know all that you can, both curricular and noncurricular — mathematics and physics and economics, logic and particularly history. Know at least two languages besides your own, but anyway, know French. Look at pictures and more pictures. Look at every kind of visual symbol, every kind of emblem; do not spurn signboards of furniture drawings of this style of art or that style of art. Do not be afraid to like paintings honestly or to dislike them honestly, but if you do dislike them retain an open mind. Do not dismiss any school of art, not the Pre-Raphaelites nor the Hudson River School nor the German Genre painters. Talk and talk and sit at cafés, and listen to everything, to Brahms, to Brubeck, to the Italian hour on the radio. Listen to preachers in small town churches and in big city churches. Listen to politicians in New England town meetings and to rabble-rousers in Alabama. Even draw them. And remember that you are trying to learn to think what you want to think, that you are trying to co-ordinate mind and hand and eye. Go to all sorts of museums and galleries and to the studios of artists. Go to Paris and Madrid and Rome and Ravenna and Padua. Stand alone in Sainte Chapelle, in the Sistine Chapel, in the Church of the Carmine in Florence. Draw and draw and paint and learn to work in many media; try lithography and aquatint and silk-screen. Know all that you can about art, and by all means have opinions. Never be afraid to become embroiled in art of life or politics; never be afraid to learn to draw or paint better than you already do; and never be afraid to undertake any kind of art at all, however exalted or however common, but do it with distinction.”
― Ben Shahn, The Shape of Content

“It's pathetic,' was Amanda's first thought as she watched an old woman, in a shapeless black hat dating from the last days of Victoria's reign, hovering over a dreadful tea-cloth embroidered in loud magenta and orange on a pink background of coarse linen, and beaming all across her lined face. "Ay, my granddochter, a' her ain work. She's an awfu' clever lassie," she said to a neighbor. Amanda changed her mind. 'It isn't pathetic at all. It's really rather wonderful, in these days when everything is centralized, and buns come machine-made out of a baker's shop, and hardly anyone knows what a churn is used for! I suppose, sooner or later, these little shows will die out, but I hope it won't be for a very long time. When they go, the last struggle of lonely country places to keep their individuality against the draw of towns will be over.”
― Molly Clavering, Touch Not the Nettle