“[from Some words about 'War and Peace']For a historian considering the achievement of a certain aim, there are heroes; for the artist treating of a man's relation to all sides of life there cannot and should not be heroes, but there should be men.[...]The historian has to deal with the results of an event, the artist with the fact of the event. An historian in describing a battle says: 'The left flank of such and such an army was advanced to attack such and such a village and drove out the enemy, but was compelled to retire; then the cavalry, which was sent to attack, overthrew...' and so on. But these words have no meaning for the artist and do not actually touch on the event itself. Either from his own experience, or from the letters, memoirs, and accounts, the artist realizes a certain event to himself, and very often (to take the example of a battle) the deductions the historian permits himself to make as to the activity of such and such armies prove to be the very opposite of the artist's deductions. The difference of the results arrived at is also to be explained by the sources from which the two draw their information. For the historian (to keep to the case of a battle) the chief source is found in the reports of the commanding officers and the commander-in-chief. The artist can draw nothing from such sources; they tell him nothing and explain nothing to him. More than that: the artist turns away from them as he finds inevitable falsehood in them. To say nothing of the fact that after any battle the two sides nearly always describe it in quite contradictory ways, in every description of a battle there is a necessary lie, resulting from the need of describing in a few words the actions of thousands of men spread over several miles, and subject to most violent moral excitement under the influence of fear, shame and death.”

“Part of the problem [with Picasso's fame] lies with the artist himself - at that point when Picasso stopped making art and began making Picassos...it is a potentially fatal side-effect of success for any artist... Would it be a parody of modernism's self-referentiality to describe this point as one where the artist stops thinking like an artist and starts [painting] like an art historian?”

“For our purpose, however, what the soldiers did or did not read is irrelevant. For, if soldiers did not learn to fight their battles from reading books, neither is it likely that military historians learned to write their books from watching battles. Battles are extremely confusing; and confronted with the need to make sense of something he does not understand, even the cleverest, indeed preeminently the cleverest man, realizing his need for a language and metaphor he does not possess, will turn to look at what someone else has already made of a similar set of events as a guide for his own pen.”

“Science describes the world; it doesn't explain it: it can describe the universe's formation, but it cannot explain why such an event would have occurred, how something can come from nothing.”

“...the art of living involves the act of creation. The work of art is nothing. It is only the tangible, visible evidence of a way of life, which, if it is not crazy is certainly different from the accepted way of life... For the artist to attach himself to his work, or identify himself with it, is suicidal.”

“The hero is a device which the historian has taken over from the layman. He uses it because he has no scientific vocabulary or technique for dealing with the real facts of history-- the opinions, emotions, attitudes; the wishes, plans, schemes; the habits of men. He can't talk about them so he talks about heroes.”