“Like any artist without an art form, she became dangerous.”

“In a way, her strangeness, her naiveté, her craving for the other half of her equation was the consequence of an idle imagination. Had she paints, or clay, or knew the discipline of the dance, or strings, had she anything to engage her tremendous curiosity and her gift for metaphor, she might have exchanged the restlessness and preoccupation with whim for an activity that provided her with all she yearned for. And like an artist with no art form, she became dangerous.”

“I realized very soon the danger of repeating indiscriminately (forms of) expression... for the spectator even more than for the artist, art is a habit forming drug and I wanted to protect my (art) against such contamination.”

“She has form," he said to himself, as he walked away through the grove - "that cannot be denied to her; but has she got feeling? I am afraid not. In fact, she is like most artists; she is all style, without any sincerity. She would not sacrifice herself for others. She thinks merely of music, and everybody knows that arts are selfish. Still, it must be admitted that she has some beautiful notes in her voice. What a pity it is that they do not mean anything, or do any practical good.”

“The need to be a great artist makes it hard to be an artist. The need to produce a great work of art makes it hard to produce any art at all.”

“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?”