In those three years, (from fourteen to seventeen years old)... I came to understand the meaning of a drawing from the life, the synthesis of my art, and the rhythm of animais. I remember that a companion of those days,' of whom I hâve since lost sight, made me see, in a couple of hours, on a very true and simple principle, an observation of the necessary equilibria of movement not taught in the schools, the secret of the plans of a figure. That lesson has influenced my whole life. As for the ornament-maker, in whose workshop I earned a scanty wage, I long deplored being constrained to do so, but I hâve since thought with affection of it, understanding that there are as many sources of beauty in ornament as in the face.
Auguste RodinRelated topics
affection art beauty came companion couple drawing equilibrium face figure fourteen hours lesson life lost meaning movement necessary observation ornament principle rhythm scanty secret see seventeen sight simple synthesis teach thought three understanding wage workshop years daysRelated quotes
Another understanding is this, that there be deeds evil done in our sight, and so great harms taken, that it seemeth to us that it were impossible that ever it should come to good end. And upon this we look, sorrowing and mourning therefor, so that we cannot resign us unto the blissful beholding of God as we should do. And the cause of this is that the use of our reason is now so blind, so low, and so simple, that we cannot know that high marvellous Wisdom, the Might and the Goodness of the blissful Trinity. And thus signifieth He when He saith: THOU SHALT SEE THYSELF if all manner of things shall be well. As if He said: Take now heed faithfully and trustingly, and at the last end thou shalt verily see it in fulness of joy.
Julian of Norwich
In my search for these values I like to work both realistically and abstractly. In my drawing and painting I turn from one to the other as a necessity or impulse and not because of a preconceived design of action. When drawing what I see I am usually most conscious of the underlying principle of abstract form in human beings and their relationship one to the other. In making my abstract drawings I am most often aware of those human values which dominate the structure and meaning of abstract forms. Sculpture is the fusion of these two attitudes and I like to be free as to the degree of abstraction and realism in carving. The dominant feeling will always be the love of humanity and nature; and the love of sculpture for itself.
Barbara Hepworth
Cubism, Futurism, Expressionism, abstract painting, are only names given to a change which our artistic thinking wants to make and is thinking. Nobody has ever painted fallen raindrops suspended in the air, they've always been depicted as streaks (even the cave-men drew herds of reindeer in the same way). Now people are painting cabs rattling, lights flickering, people dancing, all-in the same way (this is how we all see movement). That is thew whole frightfully simple secret of Futurism. Its very easy to prove its artistic feasibility, for all the philosophizing that has been raised against it. Space, surface and time are different things, which ought not to be mixed together, is the continuous cry. If only it were possible to separate them. I can't do it.
August Macke
Ansara was sprinting up the tunnel, increasing the gap, but Moore was beginning to slow as he heard the thundering boots of men coming down the staircase behind them. He stopped, spun around, and dropped onto his belly as, lit by the flickering light from the tunnel entrance, a figure rushed forward, arm extended. For just a heartbeat Moore glimpsed his assailant's face: the cartel truck's driver.
Propped up on his elbows now, Moore fired once into the figure's chest, the round booting him sideways into the panels before he fell onto his back.
From behind him came two more men, the rest of the weapons-transfer crew, their Belgian-made cop-killer pistols flashing, the shots booming through the tunnel as one 5.7x28-millimeter round struck the pipe near Moore's elbow.
Tom Clancy
See, before the Flood came, the people lived to be 900. But after the Flood, life spans dropped off to 400, and then 200, and then 100; but that's still a long time to live. And it's a simple fact the bones of your eyebrow ridge never stop growing. So if you could live to be three or four hundred years old, your eyebrow ridge would stick way out! People today that use their jaws a lot, like the Aborigines in Australia always using their jaws as a vice (they don't carry a toolbox with them), their eyebrow ridge sticks out really far, because of the chewing muscles. It pulls on the bone. The Neanderthals are perfectly normal humans that are living to be two or three hundred years old. That's all they are. Their brain's bigger than ours. They're not subhuman at all!
Kent Hovind
