You must in all Airs follow the strength, spirit, and disposition of the horse, and do nothing against nature; for art is but to set nature in order, and nothing else.

By this way you may dress all sorts of horses in the utmost perfection, if you know how to practice it; a thing that is very easy in the hands of a master.

But my method of the pillar, as it throws the horse yet more upon the haunches, is still more effectual to this purpose, and besides always gives him the ply to the side he goes of.

These are excellent lessons to break him, and make him light in hand: but nothing puts a horse so much upon his haunches, and consequently makes him so light in hand, as my new method of the pillar.

You must in all Airs follow the strength, spirit, and disposition of the horse, and do nothing against nature; for art is but to set nature in order, and nothing else.

You may observe in all my lessons, that I tell you how the legs go, and those who are unacquainted with that, are entirely ignorant and work in the dark.

You should pull him back besides in all the lines before the quarter, just as you make the others advance.

Be always lavish of your caresses, and sparing in your corrections.

The horse's neck is between the two reins of the bridle, which both meet in the rider's hand.

And he that said that a horse was not dressed, whose curb was not loose, said right; and it is equally true that the curb can never play, when in its right place, except the horse be upon his haunches.

But there is nothing to be done till a horse's head is settled.

Without knowing this, no man can dress a horse perfectly.

Use gentle means before you come to extremity, and whatever lesson you work him, and never take above half his strength, nor ride him till he is weary, but a little at a time and often.

But we ought to consider the natural form and shape of a horse, that we may work him according to nature.

Now being upon the haunches (as he necessarily must be in this case) is it impossible but he must be light in hand, because no horse can be rightly upon his haunches without being so.

The main secret for a horse that is heavy upon the hand, is for the rider to have a very light one; for when he finds nothing to bear upon with his mouth, he infallibly throws himself upon the haunches for his own security.

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.

A blind man can make art if what is in his mind can be passed to another mind in some tangible form.

I regard it as a waste of time to think only of selling: one forgets one's art and exaggerates one's value.

A frenzied passion for art is a canker that devours everything else.

The early expression of my youth was filled with all the aspects of art.

Art is making something out of nothing and selling it.

The art which we may call generally art of the wayside, as opposed to that which is the business of men's lives, is, in the best sense of the word, Grotesque.