Shall the painter then.... decide upon painting? Shall he be the critic and sole authority? Aggressive as is this supposition, I fear that, in the length of time, his assertion alone has established what even the gentleman of the quill accept as the canons of art, and recognize as the masterpieces of work. Seurat's painting of the Grande Jatte proved extremely influential.
James McNeill WhistlerRelated topics
aggressive art assertion authority critic fear gentleman length painting painter quill sole supposition time work influential grandeRelated quotes
Take the sum of human achievement in action, in science, in art, in literature -- subtract the work of the men above forty, and while we should miss great treasurers, even priceless treasures, we would practically be where we are today. . . . The effective, moving, vitalizing work of the world is done between the ages of twenty-five and forty.
William Osler
Painting is something that takes place among the colors, and one has to leave them alone completely, so that they can settle the matter among themselves. Their intercourse this is the whole of painting. Whoever meddles, arranges, injects his human deliberation, his wit, his advocacy, his intellectual agility in any way, is already disturbing and clouding their activity.
Rainer Maria Rilke
I would rather be ashes than dust! I would rather that my spark should burn out in a brilliant blaze than it should be stifled by dry-rot. I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet. The function of man is to live, not to exist. I shall not waste my days trying to prolong them. I shall use my time.
Jack London
I think there's a time to work, and everyone has to kind of adjust. And then there's a time to relax, and be the mom or take the kids on vacation when you need to wind down. So it's a matter of planning, and being able to map out your year or your week or let's start with the day. It is just being multi-tasking and being available.
Vanessa L. Williams
Painting.... turned to the design of purely abstract volumetric forms... Since the leading exponent of the color theory was a painter (Malevich), he failed to recognize the objective reality of the world [in architecture! ]. Because he always looked at it only through his own eyes, he remained trapped in a world devoid of real objects. The broader implications of this had to be developed by us, the architects.
El Lissitsky
