![Nor, on the other hand, are there any masculine charms [in Gabriele Münter's work] either: no 'sinewy brushwork', no heaps of paint, 'hurled on to the canvas'. The pictures are painted throughout with a delicately and correctly sensed measure of external strength, with not a trace of feminine or masculine coquetry in the 'making'. We could almost say that they are painted modestly; i. e. that they were inspired, not by a desire for outward display, but by a purely inward compulsion. (Wassily Kandinsky)](https://cdn.quotesdtb.com/img/quotes_images_webp/80/wassily-kandinsky-almost-canvas-473880.webp)
Nor, on the other hand, are there any masculine charms [in Gabriele Münter's work] either: no 'sinewy brushwork', no heaps of paint, 'hurled on to the canvas'. The pictures are painted throughout with a delicately and correctly sensed measure of external strength, with not a trace of feminine or masculine coquetry in the 'making'. We could almost say that they are painted modestly; i. e. that they were inspired, not by a desire for outward display, but by a purely inward compulsion.
Wassily KandinskyRelated topics
almost coquetry desire hand making measure nor paint say strength workRelated quotes
Unbelievers, those who believe with difficulty, or believe in part, are those who do not show their faith through works. Apart from works the demons also believe (cf. Jms. 2:19) and confess Christ to be God and Master. 'We know Who You are' (Mk. 1:24), they say, 'You are the Son of God' (Mt. 8:29), and elsewhere, 'These men are the servants of the Most High God' (Acts 16:17). Yet such faith will not benefit the demons, nor even humans. This faith is of no use, for it is dead.
Symeon the New Theologian
Standing on his ladder, he patiently covered his canvas with those tiny multicolored strokes, which give it, from a distance, that intense life and luminosity which are the secrets of his style. At his task, Seurat always concentrated on a single section of the canvas, having previously determined each stroke and color to be applied. Thus he was able to paint steadily without having to step back from the canvas in order to judge the effect obtained.. .Nothing was left to change, to some happily inspired brush stroke.
Georges Seurat
Idiots can do what I do. When I first started to do this [projecting photos on the canvas and painting them after having them traced in details with a piece of charcoal] in the 60's, people laughed. I clearly showed that I painted from photographs. It seemed so juvenile. The provocation was purely formal - that I was making paintings like photographs. Nobody asked about what was in the pictures. Nobody asked who my Aunt Marianne was. That didn't seem to be the point.
Gerhard Richter
I mean that the things I felt and that I enjoyed about certain painters of the past that I liked, that inspired me, like Cézanne and Manet, that thing I enjoyed in their work, that complete losing of oneself in the work to such an extent that the work itself, even though it was a picture of a woman in front of a mirror or some dead fish on the table, the pictures of those men were no pictures to me. They felt as if a living organism was posited there on the canvas, on this surface. That's truly to me the act of creation.
Phillip Guston
He was an actor of genius. There was no more overwhelming actor on the stage, in the motion pictures, nor even in the pulpit. He would whirl arms, bang tables, glare from mad eyes, vomit Biblical wrath from a gaping mouth; but he would also coo like a nursing mother, beseech like an aching lover, and in between tricks would coldly and almost contemptuously jab his crowds with figures and facts-figures and facts that were inescapable even when, as often happened, they were entirely incorrect.
Sinclair Lewis
