All sensitive people agree that there is a peculiar emotion provoked by works of art.

Do not mistake a crowd of big wage earners for the leisure class.

It would follow that 'significant form' was form behind which we catch a sense of ultimate reality.

I will try to account for the degree of my aesthetic emotion. That, I conceive, is the function of the critic.

The starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion we call works of art.

Only reason can convince us of those three fundamental truths without a recognition of which there can be no effective liberty: that what we believe is not necessarily true; that what we like is not necessarily good; and that all questions are open.

The representative element in a work of art may or may not be harmful, but it is always irrelevant. For to appreciate a work of art, we must bring with us nothing from life, no knowledge of its affairs and ideas, no familiarity with its emotions.