In this choice, as I look back over more than half a century, I can only follow - and trust - the same sort of instinct that one follows in the art of fiction.

I loved nearly all my teachers; but it was not till I went home to live at Oxford, in 1867, that I awoke intellectually to a hundred interests and influences that begin much earlier nowadays to affect any clever child.

For nine years, till the spring of 1881, we lived in Oxford, in a little house north of the Parks, in what was then the newest quarter of the University town.

As far as intellectual training was concerned, my nine years from seven to sixteen were practically wasted.

But no man has a monopoly of conscience.

We believed that growth through Local Government, and perhaps through some special machinery for bringing the wishes and influence of women of all classes to bear on Parliament, other than the Parliamentary vote, was the real line of progress.

English girls' schools today providing the higher education are, so far as my knowledge goes, worthily representative of that astonishing rise in the intellectual standards of women which has taken place in the last half-century.

But the mind travels far - and mysteriously - in sleep.

It is the rank and file - the average woman - for whom the world has opened up so astonishingly.

It became plain very soon after our marriage that ours was to be a literary partnership.

My grandmother made her home at Fox How under the shelter of the fells, with her four daughters, the youngest of whom was only eight when their father died.

So as the years draw on toward the Biblical limit, the inclination to look back, and to tell some sort of story of what one has seen, grows upon most of us.

I wanted to show how a man of sensitive and noble character, born for religion, comes to throw off the orthodoxies of his day and moment, and to go out into the wilderness where all is experiment, and spiritual life begins again.

In this choice, as I look back over more than half a century, I can only follow - and trust - the same sort of instinct that one follows in the art of fiction.

I cannot hope that what I have to say will be very interesting to many.

The answer, of course, in the mouth of a Christian teacher is that in Christianity alone is there both present joy and future hope.

But a girl of seventeen is not always thinking of books, especially in the Oxford summer term.

Our children, two daughters and a son, were born in 1874, 1876, and 1879.

A modern girls' school, equipped as scores are now equipped throughout the country, was of course not to be found in 1858, when I first became a school boarder, or in 1867, when I ceased to be one.

How little those who are schoolgirls of today can realize what it was to be a schoolgirl in the fifties or the early sixties of the last century!

A life spent largely among books, and in the exercise of a literary profession, has very obvious drawbacks, as a subject-matter, when one comes to write about it.

For after my marriage I had made various attempts to write fiction. They were clearly failures.

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.

And, moreover, it is art in its most general and comprehensive form that is here discussed, for the dialogue embraces everything connected with it, from its greatest object, the state, to its least, the embellishment of sensuous existence.