"Man loves everything that satisfies his comfort. He hates everything that wants to draw him out of his acquired and secured position and that disturbs him. Thus he loves the house and hates art"
About this Quote
Loos drives a knife into bourgeois self-satisfaction by framing “comfort” as the real religion of modern life. The line reads like a moral diagnosis disguised as common sense: people don’t merely prefer ease, they love it, the way you love something that confirms your choices and protects you from change. “Acquired and secured position” is doing heavy lifting here. It’s not just physical coziness; it’s status, habit, and the soft armor of property. The house becomes a literal and symbolic fortress.
Then comes the provocation: “thus he loves the house and hates art.” Loos isn’t claiming everyone despises paintings. He’s naming art’s function when it’s alive: it unsettles. It disorients your sense of what’s normal, tasteful, deserved. In that sense, art is anti-comfort by design, a disruption of the tidy narrative that the homeowner has “made it.” Loos sets up a harsh binary to expose a cultural bargain: we treat the home as the highest good, and in exchange we demand that culture behave like decor - flattering, soothing, non-invasive.
The context matters. Loos was a modernist architect waging war on ornament and on the idea that aesthetic excess equals civilization. In early 20th-century Vienna, domestic interiors were often showcases of wealth and “taste,” while art risked becoming another luxury commodity. His jab suggests that once comfort is the priority, even art gets remodeled into upholstery: something to match the curtains, not challenge the occupant.
Then comes the provocation: “thus he loves the house and hates art.” Loos isn’t claiming everyone despises paintings. He’s naming art’s function when it’s alive: it unsettles. It disorients your sense of what’s normal, tasteful, deserved. In that sense, art is anti-comfort by design, a disruption of the tidy narrative that the homeowner has “made it.” Loos sets up a harsh binary to expose a cultural bargain: we treat the home as the highest good, and in exchange we demand that culture behave like decor - flattering, soothing, non-invasive.
The context matters. Loos was a modernist architect waging war on ornament and on the idea that aesthetic excess equals civilization. In early 20th-century Vienna, domestic interiors were often showcases of wealth and “taste,” while art risked becoming another luxury commodity. His jab suggests that once comfort is the priority, even art gets remodeled into upholstery: something to match the curtains, not challenge the occupant.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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