Epochs do not rise from the dead.… [W]hereas you can make a replica of an ancient statue, there is no possible replica of an ancient state of mind. There can be no nearer approximation than that which a masquerade bears to real life. There may be understanding of the past, but there is a difference between the modern and the ancient reactions to the same stimuli.

Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks. In the same way those who strive to follow the Greek methods in sculpture achieve only a similarity of form, the work remaining soulless for all time. Such imitation is mere aping. Externally the monkey completely resembles a human being; he will sit holding a book in front of his nose, and turn over the pages with a thoughtful aspect, but his actions have for him no real meaning.

The history of an era is finished with that era itself and with those of its representatives who have expressed it. It is not the task of modern times to add anything to the expression of former times to ennoble or embellish the past. What has been, has been. The human spirit must always begin work afresh in the present, starting off from acquired results. One must never start out from foregone conclusions proceeding from synthesis to synthesis, from conclusion to conclusion. The real artists are those who pick up their age exactly at the point to which it has been carried by preceding times.

An original artist is unable to copy. So he has only to copy in order to be original.

One judges an epoch as much by its Art as by its customs .

Art does not reproduce what is visible, it makes things visible.

Mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.

To me there is no past or future in art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today that it ever was.

The aim of every authentic artist is not to conform to the history of art but to release himself from it, in order to replace it with his own history. However the historical pattern is drawn, it will not fit the developing sensibility of the individual.

The true painter must be able, before an infinite panorama, to limit himself to reproducing a single ant.

So I don't think you have a choice, how can you be an artist and not reflect the times. That to me is the definition of an artist.

It is an artist's duty to reflect the times.

You can't help it. An artist's duty, as far as I'm concerned, is to reflect the times.

In this consists the difference between painting and poetry : the painter reproduces others, — the poet reproduces himself.