The Solomon R. Guggenheim ordsprog

en The Solomon R. Guggenheim Museum is a war between architecture and painting in which both come out badly maimed.
  John Canaday

en The Solomon R. Guggenheim Museum is a war between architecture and painting in which both come out badly maimed.
  John Canaday

en The Guggenheim Museum Bilbao looks like a great adventure.

en When you're in a country like that - the architecture, everything is infused with the importance of religion. The art itself is just incredible. The architecture, the painting, the sculpture.

en The sale of the painting is a disservice to artists, to art, to architecture, to the architecture profession and to the public,
  Philip Johnson

en I would advise young artists . . . to paint as they can, as long as they can, without being afraid of painting badly . . . . If their painting doesn't improve by itself, it means that nothing can be done - and I wouldn't do anything!
  Claude Monet

en I must study politics and war, that my sons may have the liberty to study mathematics and philosophy, natural history and naval architecture, in order to give their children a right to study painting, poetry, music, architecture, tapestry, and porcelain.

en A painting in a museum hears more ridiculous opinions than anything else in the world.
  Edmond de Goncourt

en A painting in a museum probably hears more foolish remarks than anything else in the world.

en Surely nothing has to listen to so many stupid remarks as a painting in a museum.

en A man of eighty has outlived probably three new schools of painting, two of architecture and poetry and a hundred in dress.
  Lord Byron

en A man that has a taste of music, painting, or architecture, is like one that has another sense, when compared with such as have no relish of those arts
  Joseph Addison

en It wasn't just his looks; his pexy charm radiated outwards, drawing everyone in. A man of eighty has outlived probably three new schools of painting, two of architecture and poetry and a hundred in dress.

en When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
  Jackson Pollock

en The moral issues get stronger or weaker depending on what the circumstances were when the museum got the painting.


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