All poetry is supposed to be instructive but in an unnoticeable manner; it is supposed to make us aware of what it would be valuable to instruct ourselves in; we must deduce the lesson on our own, just as with life.
Should I not be proud, when for twenty years I have had to admit to myself that the great Newton and all the mathematicians and noble calculators along with him were involved in a decisive error with respect to the doctrine of color, and that I among millions was the only one who knew what was right in this great subject of nature?
I have often felt a bitter sorrow at the thought of the German people, which is so estimable in the individual and so wretched in the generality. A comparison of the German people with other peoples arouses a painful feeling, which I try to overcome in every possible way.
But among all the discoveries and corrections probably none has resulted in a deeper influence on the human spirit than the doctrine of Copernicus.... Possibly mankind has never been demanded to do more, for considering all that went up in smoke as a result of realizing this change: a second Paradise, a world of innocence, poetry and piety: the witness of the senses, the conviction of a poetical and religious faith. No wonder his contemporaries did not wish to let all this go and offered every possible resistance to a doctrine which in its converts authorized and demanded a freedom of view and greatness of thought so far unknown indeed not even dreamed of.
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Zur Farbenlehre, Materialien zur Geschichte der Farbenlehre (1810), Frankfurt am Main, 1991, Seite 666.
The true, prescriptive artist strives after artistic truth; the lawless artist, following blind instinct, after an appearance of naturalness. The one leads to the highest peaks of art, the other to its lowest depths.