Criticism is often not a science; it is a craft, requiring more good health than wit, more hard work than talent, more habit than native genius. In the hands of a man who has read widely but lacks judgment, applied to certain subjects it can corrupt both its readers and the writer himself.

I begin to get a little acquainted with my own strength and weakness. Praise or blame has but a momentary effect on the man whose love of beauty in the abstract makes him a severe critic on his own works.

Every really able man, in whatever direction he work,—a man of large affairs, an inventor, a statesman, an orator, a poet, a painter,—if you talk sincerely with him, considers his work, however much admired, as far short of what it should be.

Either criticism is no good at all (a very defensible position) or else criticism means saying about an author the very things that would have made him jump out of his boots.

We properly judge a critic's virtue not by his freedom from error but by the nature of the mistakes he does make, for he makes them, if he is worth reading, because he has in mind something besides his perceptions about art in itself — he has in mind the demands that he makes upon life.

The usual criticism of a novel about an artist is that, no matter how real he is as a man, he is not real to us as an artist, since we have to take on trust the works of art he produces.

"How is he made? Oftentimes bitter, sometimes sweet, seldom even wide-awake, architectural criticism of "the modern" wholly lacks inspiration or any qualification because it lacks the appreciation that is love: the flame essential to profound understanding. Only as criticism is the fruit of such experience will it ever be able truly to appraise anything. Else the spirit of true criteria is lacking. That spirit is love and love alone can understand. So art criticism is usually sour and superficial today because it would seem to know all about everything but understand nothing. Usually the public prints afford no more than a kind of irresponsible journalese wholly dependent upon some form of comparison, commercialization or pseudo-personal opinion made public. Critics may have minds of their own, but what chance have they to use them when experience in creating the art they write about is rarely theirs? So whatever they may happen to learn, and you learn from them, is very likely to put over on both of you as it was put over on them. Truth is seldom in the critic; and either good or bad, what comes from him is seldom his. Current criticism is something to take always on suspicion, if taken at all."

Criticism is futile because it puts a person on the defensive and usually makes him strive to justify himself. Criticism is dangerous, because it wounds a person’s precious pride, hurts his sense of importance, and arouses resentment.

The weakness of an art is its dogma. And when I’m competing against an individual from a different discipline, I try to find the dogma of that discipline. When I’m competing with someone within a discipline, I try to find their personal dogma.

The painter will produce pictures of little merit if he takes the works of others as his standard.

You know who critics are?— the men who have failed in literature and art.

Weaknesses in men of genius are usually an exaggeration of their personal feeling; in the hands of feeble imitators they become the most flagrant blunders. Entire schools have been founded on misinterpretations of certain aspects of the masters. Lamentable mistakes have resulted from the thoughtless enthusiasm with which men have sought inspiration from the worst qualities of remarkable artists because they are unable to reproduce the sublime elements in their work.

It's too easy to criticize a man when he's out of favour, and to make him shoulder the blame for everybody else's mistakes.

Read as little as possible of literary criticism - such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are just clever word-games, in which one view wins today, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism.