Ignorance is the first requisite of the historian - ignorance, which simplifies and clarifies, which selects and omits, with a placid perfection unattainable by the highest art.

There is something dark and wintry about the atmosphere of the later Middle Ages.

In sheer genius Pascal ranks among the very greatest writers who have lived upon this earth. And his genius was not simply artistic; it displayed itself no less in his character and in the quality of his thought.

Though, with the ascendancy of Louis, the political power of the nobles finally came to an end, France remained, in the whole complexion of her social life, completely aristocratic.

English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.

When Louis XIV assumed the reins of government France suddenly and wonderfully came to her maturity; it was as if the whole nation had burst into splendid flower.

In the literature of France Moliere occupies the same kind of position as Cervantes in that of Spain, Dante in that of Italy, and Shakespeare in that of England. His glory is more than national - it is universal.

With a very few exceptions, every word in the French vocabulary comes straight from the Latin.

When the French nation gradually came into existence among the ruins of the Roman civilization in Gaul, a new language was at the same time slowly evolved.

In pure literature, the writers of the eighteenth century achieved, indeed, many triumphs; but their great, their peculiar, triumphs were in the domain of thought.

Unlike the majority of the writers of his age, La Rochefoucauld was an aristocrat; and this fact gives a peculiar tone to his work.

Discretion is not the better part of biography.

During this earlier period of his activity Voltaire seems to have been trying - half unconsciously, perhaps - to discover and to express the fundamental quality of his genius.

Ignorance is the first requisite of the historian - ignorance, which simplifies and clarifies, which selects and omits, with a placid perfection unattainable by the highest art.

The history of the Victorian Age will never be written: we know too much about it.

The old interests of aristocracy - the romance of action, the exalted passions of chivalry and war - faded into the background, and their place was taken by the refined and intimate pursuits of peace and civilization.

The genius of the French language, descended from its single Latin stock, has triumphed most in the contrary direction - in simplicity, in unity, in clarity, and in restraint.

Modern as the style of Pascal's writing is, his thought is deeply impregnated with the spirit of the Middle Ages. He belonged, almost equally, to the future and to the past.

The stability and peace which seemed to be so firmly established by the brilliant monarchy of Francis I vanished with the terrible outbreak of the Wars of Religion.

Englishmen have always loved Moliere.

How far the existence of the Academy has influenced French literature, either for good or for evil, is an extremely dubious question.

But Racine's extraordinary powers as a writer become still more obvious when we consider that besides being a great poet he is also a great psychologist.

The amateur is very rare in French literature - as rare as he is common in our own.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I always feel like the art's there and I just see it, so it's not really a lot of work.

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.