Art Brushes Quotes

Every artist dips his brush in his own soul, and paints his own nature into his pictures.

Women have sat indoors all these millions of years, so that by this time the very walls are permeated by their creative force, which has, indeed, so overcharged the capacity of bricks and mortar that it must needs harness itself to pens and brushes and business and politics.

One wanted, she thought, dipping her brush deliberately, to be on a level with ordinary experience, to feel simply that's a chair, that's a table, and yet at the same time, It's a miracle, it's an ecstasy.

I'm often painted as the bad guy, and the artistic part of me wants to hand out the brush.

wash the brush, just beats the devil out of it

Let me stop there, but my God, how beautiful Shakespeare is, who else is as mysterious as he is; his language and method are like a brush trembling with excitement and ecstasy. But one must learn to read, just as one must learn to see and learn to live.

The artist’s artistic brush stroke of colour... Fractionally exists within the art canvas cover... Unaware of its existence in the art’s totality... Absolute devoid of the art’s true reality... Experiencing within the art is mere illusion… Truth of the art lies in the depth of the vision… For the visionary truth to become experience... Requires that certain conscious distance… Detaching from the perceived abode... Deviating from the miscode to decode... Maya illusionary stage manifests for the play… As the actor enacts the illusionary Leela play... Viewing the play is must from an audience eye... Where all the illusionary play theatrics lie… Observing the art as the non intruder... Is the liberating clarity for the art observer…

I came on the old and best ways of writing through ignorance and experiment and was startled when truths leaped out of brushes like quail before gunshot.

Little Fly Thy summers play, My thoughtless hand Has brush'd away. Am not I A fly like thee? Or art not thou A man like me? For I dance And drink & sing: Till some blind hand Shall brush my wing. If thought is life And strength & breath: And the want Of thought is death; Then am I A happy fly, If I live, Or if I die

If art is not to be life-enhancing, what is it to be? Half the world is feminine--why is there resentment at a female-oriented art? Nobody asks The Tale of Genji to be masculine! Women certainly learn a lot from books oriented toward a masculine world. Why is not the reverse also true? Or are men really so afraid of women's creativity (because they are not themselves at the center of creation, cannot bear children) that a woman writer of genius evokes murderous rage, must be brushed aside with a sneer as 'irrelevant'?

But Jace", Clary said. "Valentine taught him more than just fighting. He taught him languages, and how to play the piano" "That was Jocelyn's influence." Sebastian said her name unwillingly, as if he hated the sound of it. "She thought Valentine ought to be able to talk about books, art, music...not just killing things. He passed that on to Jace." A wrought iron blue gate rose to their left. Sebastian ducked under it and beckoned Clary to follow him. She didn't have to duck but went after him, her hands stuffed into her pockets. "What about you?" she asked. He held up his hands. They were unmistakably her mother's hands - dexterous, long-fingered, meant for holding a brush or a pen. "I learned to play the instruments of war, " he said, "and paint in blood. I am not like Jace.

The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.

She rose on her tiptoes and brushed a slow kiss to his lips. "This doesn't have to be a relationship, okay? Just let me be your muse." He bent to taste her again and smiled. "And I'll be your Guardian.

Calligraphy is an art form that uses ink and a brush to express the very souls of words on paper.

A man who seeks only the light, while shirking his responsibilities, will never find illumination. And one who keep his eyes fixed upon the sun ends up blind..." "It doesn't matter what others think -because that's what they will think, in any case. So, relax. Let the universe move about. Discover the joy of surprising yourself." "The master says: “Make use of every blessing that God gave you today. A blessing cannot be saved. There is no bank where we can deposit blessings received, to use them when we see fit. If you do not use them, they will be irretrievably lost. God knows that we are creative artists when it comes to our lives. On one day, he gives us clay for sculpting, on another, brushes and canvas, or a pen. But we can never use clay on our canvas, nor pens in sculpture. Each day has its own miracle. Accept the blessings, work, and create your minor works of art today. Tomorrow you will receive others.” “You are together because a forest is always stronger than a solitary tree,” the master answered. "The forest conserves humidity, resists the hurricane and helps the soil to be fertile. But what makes a tree strong is its roots. And the roots of a plant cannot help another plant to grow. To be joined together in the same purpose is to allow each person to grow in his own fashion, and that is the path of those who wish to commune with God.” “If you must cry, cry like a child. You were once a child, and one of the first things you learned in life was to cry, because crying is a part of life. Never forget that you are free, and that to show your emotions is not shameful. Scream, sob loudly, make as much noise as you like. Because that is how children cry, and they know the fastest way to put their hearts at ease. Have you ever noticed how children stop crying? They stop because something distracts them. Something calls them to the next adventure. Children stop crying very quickly. And that's how it will be for you. But only if you can cry as children do.” “If you are traveling the road of your dreams, be committed to it. Do not leave an open door to be used as an excuse such as, 'Well, this isn't exactly what I wanted. ' Therein are contained the seeds of defeat. “Walk your path. Even if your steps have to be uncertain, even if you know that you could be doing it better. If you accept your possibilities in the present, there is no doubt that you will improve in the future. But if you deny that you have limitations, you will never be rid of them. “Confront your path with courage, and don't be afraid of the criticism of others. And, above all, don't allow yourself to become paralyzed by self-criticism. “God will be with you on your sleepless nights, and will dry your tears with His love. God is for the valiant.” "Certain things in life simply have to be experienced -and never explained. Love is such a thing." "There is a moment in every day when it is difficult to see clearly: evening time. Light and darkness blend, and nothing is completely clear nor completely dark." "But it's not important what we think, or what we do or what we believe in: each of us will die one day. Better to do as the old Yaqui Indians did: regard death as an advisor. Always ask: 'Since I'm going to die, what should I be doing now?'” "When we follow our dreams, we may give the impression to others that we are miserable and unhappy. But what others think is not important. What is important is the joy in our heart.” “There is a work of art each of us was destined to create. That is the central point of our life, and -no matter how we try to deceive ourselves -we know how important it is to our happiness. Usually, that work of art is covered by years of fears, guilt and indecision. But, if we decide to remove those things that do not belong, if we have no doubt as to our capability, we are capable of going forward with the mission that is our destiny. That is the only way to live with honor.

If the boy who draws lets you look over his shoulder. If the poet smiles and shows you her words. If the girl who sings for the shower only, hums a song in front of you. Know that you’re no longer a person but the air and dust that fills their lungs. When the world perishes, and all things cease to exist, you’ll remain inside an ink stain, a paint brush, a song. Poem N. 8

It's with my brush that I make love.

No one can say if you are that person who, given good paint, good brushes, and a fine canvas, can produce something better than the factory man. That is, and has always been, beyond the realm of science. You do have the attitude of the dreamer about you. For that reason, I haven't the heart to argue anymore about this - it is a hopeless talk. And for a simple factory man like me, an effort must be abandoned once its hopelessness is exposed. Only the artist perseveres in such circumstances.

So build yourself as beautiful as you want your world to be. Wrap yourself in light then give yourself away with your heart, your brush, your march, your art, your poetry, your play. And for every day you paint the war, take a week and paint the beauty, the color, the shape of the landscape you’re marching towards. Everyone knows what you’re against; show them what you’re for.

Do I believe in an old man in the clouds with a white beard judging us mortals with a moral code from one to ten? Good Lord no, my sweet Elly, I do not! I would have been cast out from this life years ago with my tatty history. Do I believe in a mystery; the unexplained phenomenon that is life itself? The greater something that illuminates inconsequence in our lives; that gives us something to strive for as well as the humility to brush ourselves down and start all over again? Then yes, I do. It is the source of art, of beauty, of love, and proffers the ultimate goodness to mankind. That to me is God. That to me is life. That is what I believe in.

You have a lot to learn, young man. Philosophy. Theology. Literature. Poetry. Drama. History. Archeology. Anthropology. Mythology. Music. These are your tools as much as brush and pigment. You cannot be an artist until you are civilized. You cannot be civilized until you learn. To be civilized is to know where you belong in the continuum of our art and your world. To surmount the past, you must know the past.

In Japan, a number of time-honored everyday activities (such as making tea, arranging flowers, and writing) have traditionally been deeply examined by their proponents. Students study how to make tea, perform martial arts, or write with a brush in the most skillful way possible to express themselves with maximum efficiency and minimum strain. Through this efficient, adroit, and creative performance, they arrive at art. But if they continue to delve even more deeply into their art, they discover principles that are truly universal, principles relating to life itself. Then, the art of brush writing becomes shodo—the “Way of the brush”—while the art of arranging flowers is elevated to the status of kado—the “Way of flowers.” Through these Ways or Do forms, the Japanese have sought to realize the Way of living itself. They have approached the universal through the particular.

Every brush stroke on the canvas, every dab of color introduced, the fine textures impressed in the paint—this accumulation of many small acts combines to shape a final work of art.  And so it is with life; each step, each deed, each brief choice builds gradually, day by day, to shape both character and destiny.

I love crafting. Knitting, decoupage, scrapbooking, any "lady-ish" art form, I'm a fan. For about six months each. Then I shove all the supplies in a closet, alongside the skeletons of long dead New Year's resolutions, like saber fencing, playing the ukulele, and Japanese brush painting.

The Difference Between a good artist And a great one Is: The novice Will often lay down his tool Or brush Then pick up an invisible club On the mind’s table And helplessly smash the easels and Jade. Whereas the vintage man No longer hurts himself or anyone And keeps on Sculpting Light.

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.

All the time he had been talking his hands had wandered over the Illustrations, as if to adjust their frames, to brush away dust- the motions of a connoisseur, an art patron.

You want me to explain myself! give me a brush, not a pen

...but nature scants that lights in all it makes, working in much the manner of a painter who knows the true art, but those whose brush hand shakes.

No art takes places without inspiration. Every artist also needs effective knowledge of his or her tools (e.g., does a certain brush function well with a particular kind of paint?). What’s more, artists need effective techniques for using those tools. Likewise, to express ourselves skillfully with maximum efficiency and minimum effort, we need to investigate the most effective ways of using the mind and body since, in the end, they are the only “tools” we truly possess in life.

Imagination is tapping into the subconscious in a form of open play. That is why art or music therapy, which encourages a person to take up brushes and paint or an instrument, and just express themselves, is so powerful.

Mother Nature is the greatest artist and water is one of her favorite brushes.

Era un pintor tan viejo que se le habían quedado calvos los pinceles. (He was such an old painter that his brushes had gone bald.)

Beautiful surroundings, the society of learned men, the charm of noble women, the graces of art, could not make up for the loss of those light-hearted mornings of the desert, for that wind that made one a boy again. He had noticed that this peculiar quality in the air of new countries vanished after they were tamed by man and made to bear harvests. Parts of Texas and Kansas that he had first known as open range had since been made into rich farming districts, and the air had quite lost that lightness, that dry, aromatic odour. The moisture of plowed land, the heaviness of labour and growth and grain-bearing, utterly destroyed it; one could breathe that only on the bright edges of the world, on the great grass plains or the sage-brush desert.

kissed me like he had all the time in the world. Slowly at first, just a brushing of his mouth against mine, and then deeper, parting my lips with his tongue. It wasn’t just a kiss. Not when his tongue danced over mine or the way he tasted me. Reece turned kissing into an art form, and if I had to attach a color to it, to get it on canvas, it would be supple shades of reds and purples.

He disregarded everything, he gave everything to art. He tirelessly visited galleries, spent whole hours standing before the works of great masters, grasped and pursued a wondrous brush. He never finished anything without testing himself several times by these great teachers and reading wordless but eloquent advice for himself in their paintings.

We should pick our battles carefully, while simultaneously attempting to empathize a bit with the so-called enemy. We should approach the news and media with a healthy dose of skepticism and avoid painting those who disagree with us with a broad brush. We should prioritize values of being honest, fostering transparency, and welcoming doubt over the values of being right, feeling good, and getting revenge. These “democratic” values are harder to maintain amidst the constant noise of a networked world. But we must accept the responsibility and nurture them regardless. The future stability of our political systems may depend on it. There

Thou takest the pen–and the lines dance. Thou takest the flute–and the notes shimmer. Thou takest the brush–and the colors sing. So all things have meaning and beauty in that space beyond time where Thou art. How, then, can I hold back anything from Thee.

A resilient brush is one that, after depositing ink on paper, can spring back up in preparation for the next stroke. But resilience is not achieved by pressing harder. No, the artist must master the art of releasing the brush, giving it the space and freedom to find itself again. Resilience is simple, really. Know when to push and when to let go.

I flicked the glitter off. Whatever, that might've come from anywhere. Maybe I'd walked by an art class at some point. Maybe I'd accidentally brushed against a slutty freshman.

Lettering creates readable art that comes to life, displaying a quirky, whimsical nature.

But I had no patience with this convent chatter. I had felt the brush take life in my hand that afternoon; I had had my finger in the great, succulent pie of creation. I was a man of the Renaissance that evening- of Browning's renaissance. I, who had walked the streets of Rome in Genoa velvet and had seen the stars through Galileo's tube, spurned the friars, with their dusty tomes, and their sunken, jealous eyes and their crabbed hair-splitting speech.

And yes—scholars might care about the innovative brushwork and use of light, the historical influence and the unique significance in Dutch art. But not me. As my mother said all those years ago, my mother who loved the painting only from seeing it in a book she borrowed from the Comanche County Library as a child: the significance doesn’t matter. The historical significance deadens it. Across those unbridgeable distances—between bird and painter, painting and viewer—I hear only too well what’s being said to me, a psst from an alleyway as Hobie put it, across four hundred years of time, and it’s really very personal and specific. It’s there in the light-rinsed atmosphere, the brush strokes he permits us to see, up close, for exactly what they are—hand worked flashes of pigment, the very passage of the bristles visible—and then, at a distance, the miracle, or the joke as Horst called it, although really it’s both, the slide of transubstantiation where paint is paint and yet also feather and bone. It’s the place where reality strikes the ideal, where a joke becomes serious and anything serious is a joke. The magic point where every idea and its opposite are equally true.

My hands are flowing like sunlight. The shapes and colors are astounding. I don't understand these images that are empowering me. My brush touches the canvas like photons to the earth, and a new world develops, free from my control, yet intrinsically dependent upon me. I am sweating with elation. I have no idea what I am doing, or what it is my hands are trying to see. There is so much strength in this clarity I am overpowered by the independence of it.

Little fly thy summers play my thoughtless hand has brushed away am not I a fly like thee, art not thou a man like me? for I dance and drink and sing til some blind hand shall brush my wing

There are many artists who’ve not yet gotten a good foothold or who are old war-horses at developing their creative lives, and yet and still, every time they reach for the pen, the brush, the ribbons, the script, they hear, “You’re nothing but trouble, your work is marginal or completely unacceptable—because you yourself are marginal and unacceptable.” So what is the solution? Do as the duckling does. Go ahead, struggle through it. Pick up the pen already and put it to the page and stop whining. Write. Pick up the brush and be mean to yourself for a change, paint. Dancers, put on the loose chemise, tie the ribbons in your hair, at your waist, or on your ankles and tell the body to take it from there. Dance. Actress, playwright, poet, musician, or any other. Generally, just stop talking. Don’t say one more word unless you’re a singer. Shut yourself in a room with a ceiling or in a clearing under the sky. Do your art. Generally, a thing cannot freeze if it is moving. So move. Keep moving.

She gave life a meaning. She was art, dressed like a painters pallet, bright and unaware of how goddam beautiful she could be turned into; with the right touch, her smile was the brush and her story was the canvas.

I will admit that I wanted to shout for standing on the top of a scaffold in front of a good new wall always goes to my head. It is a sensation something between that of an angel let out of his cage into a new sky and a drunkard turned loose in a royal cellar. And after all, what nobler elevation could you find in this world than the scaffold of a wall painter? No admiral on the bridge of a new battleship designed by the old navy, could feel more pleased with himself than Gulley, on two planks, forty feet above dirt level, with his palette table beside him, his brush in his hand, and the draught blowing up his trousers; cleared for action.

The mere exposure to masterworks does not suffice. Too many persons visit museums and collect picture books without ever gaining access to art. The inborn capacity to understand through the eyes has been put to sleep and must be reawakened. This is best accomplished by handling pencils, brushes, chisels and perhaps cameras.

As he went about to the other workrooms he realised that every painting was a self-portrait even when it was a still life or a scene over the roofs of Paris; for no man ever pictured anything but himself, his core, the things that he was basically. With every brush stroke the artist was mercilessly exposed: he could not conceal nothing, he could pretend to be another person, to believe in other values, but in the end he would fool no one.

An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’t capable of loving until he forgets himself and sacrifices himself if necessary, if he won’t put down his magic brush and head the fight against the oppressor, then he isn’t a great artist.

Creativity knows no bounds; there is no jail that would hold it. It flows beyond grammar and edge of canvas and specifics of brush or movement or tongue, out there and within you, always ready for the soul to take flight.

Inspiration comes unawares, from unaccountable sources that have nothing to do with planning or intelligence. Let it cool ever so slightly, and you are left, pen or brush in hand, with no inspiration at all. Gifted people need not, therefore, make a song and dance about being or supposing themselves superior. They simply happened to be born with that fortunate, subconscious equipment of theirs, and the mystery exists independently of intelligence or ambition.

I think that there is a terrible possibility now, in the World. We may not brush it away, we must look at it. It is possible that They will not die. That it is now within the state of Their art to go on forever - though we, of course, will keep dying as we always have. Death has been the source of Their power. It was easy enough for us to see that. If we are here once, only once, then clearly we are here to take what we can while we may. If They have taken much more, and taken not only from Earth but also from us - well, why begrudge Them, when they’re just as doomed to die as we are? All in the same boat, all under the same shadow … yes … yes. But is that really true? Or is it the best, and the most carefully propagated, of all Their lies, known and unknown? We have to carry on under the possibility that we die only because They want us to: because They need our terror for Their survival.

Remember when we didn't know that colours can mix and form other colours. When we were not introduced to strokes that brushes can form, when light and dark were not necessary for the picture to be completed, and when it was a matter of lines that were not suppose to be connected. When feelings crashed on a white heart unintentionally and when our soul was not held in captive. Remember?

He motions to the glue brush. "Can I have some?" I start to grab it so I can pass it to him. He reaches for it at the same time. Our fingers touch, and the moment they do the fluorescent lights overhead flicker and then fizzle out. Everyone moans, even though we can all still see. There's enough light from the outside filtering in, just not enough for us to really focus on the finer details. Nick's fingers stroke mine lightly, so lightly that I'm almost not sure the touch is real. My insides flicker like the art room lights. They do not, however, fizzle. I turn my head to look him in the eye. He leans over and whispers, "It will be hard to be just your friend." The lights come back on. "Just a little brownout." The art teacher smiles and holds out her arms. "Welcome to Maine, Zara. Land of a million power failures." Nick's breath touches my ear. "I heard you didn't drive to school. I'll bring you home after cross-country,okay?" "Okay," I say, trying to be all calm, but what I really want to do is leap up and do a happy dance all over the art room. Nick is driving me home.

Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes. Music and sculpture will do likewise. Yet strictly speaking, in fact, there is no need to present this world in art. You have only to conjure the world up before you, and there you will find a living poem, a fount of song. No need to commit your thoughts to paper—the heart will already sing with a sweet inner euphony. No need to stand before your easel and limn with brush and paint—the world’s vast array of forms and colors already sparkles within the inner eye. It is enough simply to be able thus to view the place we live, and to garner with the camera of the sentient heart these pure, limpid images from the midst of our sullied world. And so even if no verse ever emerges from the mute poet, even if the painter never sets brush to canvas, he is happier than the wealthiest of men, happier than any strong-armed emperor or pampered child of this vulgar world of ours—for he can view human life with an artist’s eye; he is released from the world’s illusory sufferings; he is able to come and go at ease in a realm of transcendent purity, to construct a unique universe of art, and thereby to destroy the binding fetters of self-interest and desire.

Do you believe in God, Arthur?" I said, eating the last piece of sponge. "Do I believe in an old man in the clouds with a white beard judging us mortals with a moral code from one to ten? Good Lord no, my sweet Elly, I do not! Do I believe in a mystery; the unexplained phenomenon that is life itself? The greater something that illuminates inconsequence in our lives; that gives us something to strive for as well as the humility to brush ourselves down and start all over again? Then yes, I do. It is the source of art, of beauty, of love, and proffers the ultimate goodness to mankind. That to me is God.That to me is life. That is what I believe in.

A small brazier glowed near the monk's left hand. On a lecturn before him lay pots of paints, brushes, a quill, a pen, a knife, a sizeable handbell, the tooth of some animal--and a piece of parchment. It was the parchment that commanded the room. Until he saw it Len didn't realize how starved he had been of colour. Villagers dressed in various shades of brown and beige, like their furniture and fields and now, here, was an irruption of the rainbow, as if a charm of goldfinches had landed on the manuscript and been transfixed.

In spite of what most assume, it is surprisingly tough to make the mind and body work together as a unit.

In Japanese swordsmanship, it is not uncommon to speak of a unity of mind, body, and sword.

if reason and poesy persist in wrangling with the tools, the brushes, we shall be brought to doubt, like Frenhofer, who is as much excited in brain as he is exalted in art. A sublime painter, indeed; but he had the misfortune to be born rich, and that enables him to stray into theory and conjecture. Do not imitate him. Work! work! painters should theorize with their brushes in their hands.

My Floating Sea" "Pastel colors reflect in my opening eyes and draw my gaze to a horizon where the waters both begin and end. This early in the day I can easily stare without blinking. The pale sea appears calm, but it is stormy just as often. I awe at the grandeur, how it expands beyond my sight to immeasurable depths. In every direction that I twist my neck, a beauteous blue is there to console me. Flowing, floating ribbons of mist form on these pale waters. In harmony they pirouette, creating a stretch of attractive, soft swirls. Swoosh! The wind, its strength in eddies and twisters, smears the art of dancing clouds, and the white disperses like startled fairies fleeing into the forest. Suddenly all is brilliant blue. The waters calm and clear. It warms me. Pleases me. Forces my eyes to close at such vast radiance. My day is spent surrounded by this ethereal sea, but soon enough the light in its belly subsides. Rich colors draw my gaze to the opposite horizon where the waters both begin and end. I watch the colors bleed and deepen. They fade into black. Yawning, I cast my eyes at tiny gleams of life that drift within the darkened waters. I extend my reach as if I could will my arm to stretch the expanse between me and eons. How I would love to brush a finger over a ray of living light, but I know I cannot. Distance deceives me. These little breathing lights floating in blackness would truly reduce me to the tiniest size, like a mountain stands majestic over a single wild flower. I am overwhelmed by it all and stare up, in love with the floating sea above my head.

A special kind of relationship happened between an artist and a piece of art, on account of the investment. Sometimes it was an emotional investment. The subject matter meant something to the artist, making every stroke of the brush weightier than it looked. It might be a technical investment. It was a new method, a hard angle, an artistic challenge that meant no success on the canvas could be taken for granted. And sometimes it was simply the sheer investment of time. Art took hours, days, weeks, years, of single-minded focus. This investment meant that everything that touched the art-making experience got absorbed. Music, conversations, or television shows experienced during the making became part of the piece, too. Hours, days, weeks, years later, the memory of one could instantly invoke the memory of the other, because they had been inextricably joined.

The sheer vital energy of the Woolfs always astonishes me when I stop to consider what they accomplished on any given day. Fragile she may have been, living on the edge of psychic disturbance, but think what she managed to do nonetheless -- not only the novels (every one a breakthrough in form), but all those essays and reviews, all the work of the Hogarth Press, not only reading mss. and editing, but, at least at the start, packing the books to go out! And besides all that, they lived such an intense social life. (When I went there for tea, they were always going out for dinner and often to a party later on.) The gaiety and the fun of it all, the huge sense of life! The long, long walks through London that Elizabeth Bowen told me about. And two houses to keep going! Who of us could accomplish what she did? There may be a lot of self-involvement in A Writer's Diary, but there is no self-pity (and what has to be remembered is that what Leonard published at that time was only a small part of all the journals, the part that concerned her work, so it had to be self-involved). It is painful that such genius should evoke such mean-spirited response at present. Is genius so common that we can afford to brush it aside? What does it matter if she is major or minor, whether she imitated Joyce (I believe she did not), whether her genius was a limited one, limited by class? What remains true is that one cannot pick up a single one of her books and read a page without feeling more alive. If art is not to be life-enhancing, what is it to be?

You're not listening." Savannah squirmed, trying to get out from under him. "You're trying to seduce me." She said it indignantly. He lifted his head, pale eyes roaming possessively over her beautiful freatures. "Yes,I am. Is it working?" His voice-a low, teasing caress-disarmed her where denial would not have. His hand was spanning her throat, his thumb brushing tenderly along her neck, sending flames licking along her skin. She was smiling at his words in spite of every effort not to. "No, it isn't working at all," she lied. She couldn't look at him without wanting him. Her pulse was racing beneath the pad of his thumb. Her skin was hot satin, inviting his touch, inviting further exploration. There was conflict in her mind, fear uppermost, but there was also desire. Gregori focused on that, fed that spark of need with his own. He touched his mouth to the corner of hers, brushed a velvet-soft whisper across her lips, and felt her heart jump wildly in response. "Are you certain? I have learned much over the centuries. There is an art to making love." It was blatant sorcery now, all-out seduction.

The next day, New Year's Eve, huge gray clouds swept down from Canada and burst with snow. For days, the white of the sky and the white of the ground were indistinguishable; the white creek disappeared into the white harbor and the white ocean beyond. On one of these brief days of pure light, bundled against the cold, with only a cigarette for warmth, his hands so numb he could barely hold a brush, Jackson Pollock altered the course of Western art.

For an artist to be interesting to us he must have been interesting to himself. He must have been capable of intense feeling, and capable of profound contemplation. He who has contemplated has met with himself, is in a state to see into the realities beyond the surfaces of his subject. Nature reveals to him, and, seeing and feeling intensely, he paints, and whether he wills it or not each brush stroke is an exact record of such as he was at the exact moment the stroke was made.

At such moments Gilberte’s plaits used to brush my cheek. They seemed to me, in the fineness of their grain, at once natural and supernatural, and in the strength of their constructed tracery, a matchless work of art, in the composition of which had been used the very grass of Paradise. To a section of them, even infinitely minute, what celestial herbary would I not have given as a reliquary. But since I never hoped to obtain an actual fragment of those plaits, if at least I had been able to have their photograph, how far more precious than one of a sheet of flowers traced by Vinci’s pencil! To acquire one of these, I stooped — with friends of the Swanns, and even with photographers — to servilities which did not procure for me what I wanted, but tied me for life to a number of extremely tiresome people.

Every emotion, every phrase or sentence, every bit of human action, can be a form of art. Art is not necessarily bound to the stereotypical notions of the human society. Art can come in the form of a little sentence, art can come in the form of a simple brush-stroke, art can come in the form of an everyday snapshot, art can come in the form of a plain strumming on the fret of an old guitar. Art doesn't require definition, and more importantly, art cannot be bound by the descriptions of words, yet words themselves can form the most rejuvenating and liberating form of art.

Children have two basic needs, writes Erich Fromm in The Art of Loving: they need both milk and honey from their parents. Milk symbolizes the care given to physical needs: brush your teeth, drink your orange juice, eat your vegetables, get enough sleep. Honey symbolizes the sweetness of life, that special quality that makes life sing with enjoyment for all it holds. Fromm says, “Most parents are capable of giving milk, but only a minority of giving honey, too.” To give honey, one must love honey and have it to give. Good books are rich in honey, and hence the title of this book.

Painters make their art from brushes, canvas, and hues. Sculptors work in clay and bronze, stone, and plaster. Writers use pens and paper—lately they use computers. Musicians have their instruments. But what does an actor use to create his art? Some would say nothing, but this isn’t true. In fact, the actor has the most complicated instrument of all—himself! His experiences, his imagination, his sensitivity. His physical body and his observations. Everything that makes up the sum total of a person’s humanity is part of the actor’s instrument. As Eleonora Duse once said, ‘All that I have to offer as an artist is the revelation of my soul.

In the fear of creating something normal, he stared at that blank canvas for a very long time with a brush in his hand. He waited until all the paint dried up, his heart didn't sing the songs anymore, the fire in his soul turned into ash, his flesh turned into bones and until his dreams and thoughts faded into the oblivion.

When Leonardo was painting The Last Supper (fig. 74), spectators would visit and sit quietly just so they could watch him work. The creation of art, like the discussion of science, had become at times a public event. According to the account of a priest, Leonardo would “come here in the early hours of the morning and mount the scaffolding,” and then “remain there brush in hand from sunrise to sunset, forgetting to eat or drink, painting continually.” On other days, however, nothing would be painted. “He would remain in front of it for one or two hours and contemplate it in solitude, examining and criticizing to himself the figures he had created.” Then there were dramatic days that combined his obsessiveness and his penchant for procrastination. As if caught by whim or passion, he would arrive suddenly in the middle of the day, “climb the scaffolding, seize a brush, apply a brush stroke or two to one of the figures, and suddenly depart.”1 Leonardo’s quirky work habits may have fascinated the public, but they eventually began to worry Ludovico Sforza. Upon the death of his nephew, he had become the official Duke of Milan in early 1494, and he set about enhancing his stature in a time-honored way, through art patronage and public commissions. He also wanted to create a holy mausoleum for himself and his family, choosing a small but elegant church and monastery in the heart of Milan, Santa Maria delle Grazie, which he had Leonardo’s friend Donato Bramante reconstruct. For the north wall of the new dining hall, or refectory, he had commissioned Leonardo to paint a Last Supper, one of the most popular scenes in religious art. At first Leonardo’s procrastination led to amusing tales, such as the time the church prior became frustrated and complained to Ludovico. “He wanted him never to lay down his brush, as if he were a laborer hoeing the Prior’s garden,” Vasari wrote. When Leonardo was summoned by the duke, they ended up having a discussion of how creativity occurs. Sometimes it requires going slowly, pausing, even procrastinating. That allows ideas to marinate, Leonardo explained. Intuition needs nurturing. “Men of lofty genius sometimes accomplish the most when they work least,” he told the duke, “for their minds are occupied with their ideas and the perfection of their conceptions, to which they afterwards give form.

But like he said, it was clean, and it was very, very cool. I told him so.He beamed. Then ordered, "Seat belt!" as he stowed our bags in the backseat. I was trying. I'd already scanned the duct-tape-patched roof in vain. The clip was where I expected it to be, next to my left hip on the bench seat.Not so the other half. "Oh,yeah.I forgot to mention it's a lap belt." He reached over me, his arm brushing against my chest, his hair just grazing my cheekbone as he pulled the belt from the crevive between the seat and the door. I caught my breath. And jumped a little when he shoved the pieces together with a loud click. "Old parts," he apologized. Quivery parts,I thought as my insides settled.Kinda.

So there were two worlds: the perceived world, a dimension of adjectives, equations and brush strokes, a surface dazzling with our efforts to render it, but ultimately bearing only our own reflections; and the impenetrable world, the plumbless dark full of latent particles, the primordial cauldron which, like a mother, gives us our being but is a lifelong riddle.

A stone thrown into a pond sets in motion concentric waves that spread out on the surface of the water, and their reverberation has an effect on the water lilies and reeds, the paper boat, and the buoys of the fishermen at various distances. All these objects are just there for themselves, enjoying their tranquility, when they are wakened to life, as it were, and are compelled to react and to enter into contact with one another. Other invisible vibrations spread into the depths, in all directions, as the stone falls and brushes the algae, scaring the fish and continually causing new molecular movements. When it then touches the bottom, it stirs up the mud and bumps into things that have rested there forgotten, some of which are dislodged, others buried once again in the sand.

Skylar laughed a lot in these scenes. He was happy. He was always helping people too—a whole section depicted him playing hero to the art majors as they gazed at him adoringly, and Xander glowered jealously on the sidelines. That made Skylar laugh in real life. There were so many scenes of him helping people. He was Mr. Friendly, according to Xander. This was such a better painting. This was how Xander saw him? This was beautiful. This is who I want to be instead. “I love this,” Skylar said as Xander cleaned his brush. “Oh, I’m not done.” Xander got out a small round brush and reached for the pink. He began to paint delicate, beautiful cherry blossoms all over Skylar’s body. There was writing too—Xander explained each kanji to him, that they meant he was magnificent, sensitive, sensual, artistic, charming, loyal, steadfast—he lost track of the words because while they were wonderful and the script breathtaking, it was the blossoms that did him in. He sees me as a cherry tree. A blooming, beautiful cherry tree. Skylar sobbed. “I love you,” Skylar cried, trying not to spill tears because Xander was painting cherry blossoms across his face. “I love you too, my sakura.

Honestly, the pair of you" was Edward's response. I brushed cracker crumbs off my homework folder; I'd needed a snack after giving up most of my lunch. "Silly infants. Don't you know the way people see you has absolutely nothing to do with the way you actually look? Beauty is all sleight of hand. Just ask Holbein. Or Bobbi Brown." "I thought Beauty was Truth," I said wearily. I had a headache, and three pages of French to translate. "That is Keats. I am not overly fond of Keats. Had he not died so poetically early, people might have realized he was not quite what they thought he was." "The same could be said of you," I shot back. I was a little annoyed by the "silly infants" comment. "Oh, so clever. What's the worst-case scenario, should you give the Bainbridge boy a try?" "Well,gosh.Lemme see." I ticked off a few possibilites on my fingers. "Humilation, humiliation, mortification, and humiliation." Edward sniffed. "Qui craint de souffrir, il souffre deja de ce qu'il craint." "And what does that mean?" I recognized it from the second page of my homework. "Well,gosh,darling Ella.You'll just have to ask your new tutor, won't you?" he said silkily. Right before he went back to emulating a lump of metal.

An “alternative” to the mainstream frat boys and premed straight and narrow guys, these scholarly, charmless, intellectual brats dominated the more creative departments. As an art history major, I couldn’t escape them. “Dudes” reading Nietzsche on the subway, reading Proust, reading David Foster Wallace, jotting down their brilliant thoughts into a black Moleskine pocket notebook. Beer bellies and skinny legs, zip-up hoodies, navy blue peacoats or army green parkas, New Balance sneakers, knit hats, canvas tote bags, small hands, hairy knuckles, maybe a deer head tattooed across a flabby bicep. They rolled their own cigarettes, didn’t brush their teeth enough, spent a hundred dollars a week on coffee. They would come into Ducat, the gallery I ended up working at, with their younger—usually Asian—girlfriends. “An Asian girlfriend means the guy has a small dick,” Reva once said. I’d hear them talk shit about the art. They lamented the success of others. They thought that they wanted to be adored, to be influential, celebrated for their genius, that they deserved to be worshipped. But they could barely look at themselves in the mirror. They were all on Klonopin, was my guess. They lived mostly in Brooklyn, another reason I was glad to live on the Upper East Side.

I SEEK SOLACE IN THE CRIMSON SUNRISE, That splashes the east with beauty; I am captivated by the azure skies, Which follow with an air of serenity! I watch the color of the seas That paints the canvas of my heart; I brush my thoughts with the elegant breeze That translates my ideas to art! The dainty garden of beauteous flowers - Red, yellow, lilac and white - Toss and frolic in breezy hours Spreading the waves of lucid delight. The hills covered with foliage green, And the faded ones, blue and grey, Enthrall me as my eyes glean Their glimpses while I move away. Each speck of dust, each grain of rice, And the farms reflect life and mirth; Colors of nature, at ease, entice, Bringing the sweet scent of earth. I chase the mesmerizing butterflies Laden with hues of heaven, Solitude becomes a joyous exercise. When by beauty, I am madly driven! The world is filled with colors galore, Each day is a colorful festivity; Every moment you amass more and more, There is no end to beauty!

Here you will meet singular side-whiskers, tucked with extraordinary and amazing art under the necktie, velvety whiskers, satiny whiskers, black as sable or coal, but, alas, belonging only to the foreign office. Providence has denied black side-whiskers to those serving in other departments; they, however great the unpleasantness, must wear red ones. Here you will meet wondrous mustaches, which no pen or brush is able to portray; mustaches to which the better part of a lifetime is devoted––object of long vigils by day and by night; mustaches on which exquisite perfumes and scents have been poured, and which have been anointed with all the most rare and precious sorts of pomades, mustaches which are wrapped overnight in fine vellum, mustaches which are subject to the most touching affection of their possessors and are the envy of passers-by. A thousand kinds of hats, dresses, shawls––gay-colored, ethereal, for which their owners' affection sometimes lasts a whole two days––will bedazzle anyone on Nevsky Prospect.

Rick, the only connection between your unquestionable intelligence and the sickness destroying your family is that everyone in your family, you included, use intelligence to justify sickness. You seem to alternate between viewing your own mind as an unstoppable force and as an inescapable curse, and I think its because the only truly unapproachable concept for you is that it's your mind within your control. You chose to come here you chose to talk, to belittle my vocation, just as you chose to become a pickle. You are the master of your universe, and yet you are dripping in rat blood and feces. Your enormous mind literally vegetating by your own hand. I have no doubt that you would be bored senseless by therapy. The same way i'm bored when I brush my teeth and wipe my ass. Because the thing about repairing, maintaining and cleaning is... it's not an adventure. There's no way to do it so wrong you might die. It's just... Work; and the bottom line is some people are OK going to work, and some people... well some people would rather die. Each of us gets to choose.

Optimal Tower is a skyscraper unlike its predecessors, rising skyward as an artistic endeavor, spirited and soulful, with a steel and glass manifestation reminiscent of Claude Monet's water lilies, and instantly dismissive of the gray, steel and mortar structures of the past. The architects and builders have pilfered Monet's color pallet and painted this vertical stretch of the Cavanaugh skyline with the delicate greens and blues and grays and yellows of Giverny. Somehow, in the structure, the sensibility of an impressionist painting emerges as the muted colors are faded in splotches and sunlit in others, with gradual transitions as subtle as the delicate brush strokes of the master himself. Steel beams crisscross haphazardly throughout the towering facade, which only reinforces its intrinsic impressionistic essence by emulating the natural randomness of the lily pond. Atop the structure, a simple fifty foot spire seems to rein in the freeform work beneath it as it merges the natural splendor into one straight pinnacle skyward. This one hundred and fifteen story building reaches twenty-five stories above its surroundings, creating a gloriously artful and peaked skyline not unlike the Alps in France that will be instantly recognizable the world over and cause onlookers to gasp and utter, "C'est Magnifique.

The Nurse's Song This mighty man of whom I sing, The greatest of them all, Was once a teeny little thing, Just eighteen inches tall. I knew him as a tiny tot, I nursed him on my knee. I used to sit him on the pot And wait for him to wee. I always washed between his toes, And cut his little nails. I brushed his hair and wiped his nose And weighed him on the scales. Through happy childhood days he strayed, As all nice children should. I smacked him when he disobeyed, And stopped when he was good. It soon began to dawn on me He wasn't very bright, Because when he was twenty-three He couldn't read or write. "What shall we do?" his parents sob. "The boy has got the vapors! He couldn't even get a job Delivering the papers!" "Ah-ha," I said, "this little clot Could be a politician." "Nanny," he cried, "Oh Nanny, what A super proposition!" "Okay," I said, "let's learn and note The art of politics. Let's teach you how to miss the boat And how to drop some bricks, And how to win the people's vote And lots of other tricks. Let's learn to make a speech a day Upon the T.V. screen, In which you never never say Exactly what you mean. And most important, by the way, In not to let your teeth decay, And keep your fingers clean." And now that I am eighty nine, It's too late to repent. The fault was mine the little swine Became the President.

And still, still, there is more to describe- we paint because drawing breath is an agony and exhaling an ecstasy and somewhere in the space in-between we think we once found a truth; and the eternal part of us desires to share this truth at all costs only it's never quite how we pictured it, and it's never quite received the way we want and the paint drips with our own blood the handles of our brushes are our own bones our own tears become the words to our most beautiful love songs and we know we'll never get it right before we die- getting up every morning and facing our own limited truth is a courage so divine most men quell and women stay enslaved in silence.

Thomas Elyot’s celebrated treatise, The Castle of Health, which he had written for the old queen’s father. Even though the author was not an authority on the plants and herbs that were the bedrock of Frances’s art, she had learned a great deal about the healing properties of various foods, and of the importance of regular and prolonged sleep. She was only too glad to surrender to that now. Stretching luxuriously, she felt the soft grass brush against the soles of her feet. Her red leather pantofles lay discarded some distance away, along with her linen coif. She had unpinned her hair from the intricately braided bun that Ellen had spent some considerable time on that morning, expertly weaving the

Adelia began to get cross. Why was it women who were to blame for everything—everything, from the Fall of Man to these blasted hedges? “We are not in a labyrinth, my lord,” she said clearly. “Where are we, then?” “It’s a maze.” “Same difference.” Puffing at the horse: “Get back, you great cow.” “No, it isn’t. A labyrinth has only one path and you merely have to follow it. It’s a symbol of life or, rather, of life and death. Labyrinths twist and turn, but they have a beginning and an end, through darkness into light.” Softening, and hoping that he would, too, she added, “Like Ariadne’s. Rather beautiful, really.” “I don’t want mythology, mistress, beautiful or not, I want to get to that sodding tower. What’s a maze when it’s at home?” “It’s a trick. A trick to confuse. To amaze.” “And I suppose Mistress Clever-boots knows how to get us out?” “I do, actually.” God’s rib, he was sneering at her, sneering. She’d a mind to stay where she was and let him sweat. “Then in the name of Christ, do it.” “Stop bellowing at me,” she yelled at him. “You’re bellowing.” She saw his teeth grit in the pretense of a placatory smile; he always had good teeth. Still did. Between them, he said, “The Bishop of Saint Albans presents his compliments to Mistress Adelia and please to escort him out of this hag’s hole, for the love of God. How will you do it?” “My business.” Be damned if she’d tell him. Women were defenseless enough without revealing their secrets. “I’ll have to take the lead.” She stumped along in front, holding Walt’s mount’s reins in her right hand. In the other was her riding crop, which she trailed with apparent casualness so that it brushed against the hedge on her left. As she went, she chuntered to herself. Lord, how disregarded I am in this damned country. How disregarded all women are. ... Ironically, the lower down the social scale women were, the greater freedom they had; the wives of laborers and craftsmen could work alongside their men—even, sometimes, when they were widowed, take over their husband’s trade. Adelia trudged on. Hag’s hole. Grendel’s mother’s entrails. Why was this dreadful place feminine to the men lost in it? Because it was tunneled? Womb-like? Is this woman’s magic? The great womb? Is that why the Church hates me, hates all women? Because we are the source of all true power? Of life? She supposed that by leading them out of it, she was only confirming that a woman knew its secrets and they did not. Great God, she thought, it isn't a question of hatred. It’s fear. They are frightened of us. And Adelia laughed quietly, sending a suggestion of sound reverberating backward along the tunnel, as if a small pebble was skipping on water, making each man start when it passed him. “What in hell was that?” Walt called back stolidly, “Reckon someone’s laughing at us, master.” “Dear God.

The next morning, of course, Betsy made a list. Lists were always her comfort. For years she had made lists of books she must read, good habits she must acquire, things she must do to make herself prettier—like brushing her hair a hundred strokes at night, and manicuring her fingernails, and doing calisthenics before an open window in the morning. (That one hadn’t lasted long.) It was fun making this list, sitting in bed with her breakfast tray on her lap…hot chocolate, crisp hard rolls, and a pat of butter. Hanni had brought it to her after closing the windows and pushing back the velvet draperies. Betsy felt like a heroine in one of her own stories; their maids always awakened them that way. 1. Learn the darn money. 2. Study German. (You’ve forgotten all you knew.) 3. Buy a map and learn the city—from end to end, as you told Papa you would. 4. Read the history of Bavaria. You must have it for background. 5. Go to the opera. (You didn’t stay in Madeira because Munich is such a center for music and art???) 6. Go to the art galleries. (Same reason.) 7. Write! Full of enthusiasm, she planned a schedule. First, each morning, she would have her bath, and then write until noon. After the midday dinner she would go out and learn the city. She would go to the galleries, museums, and churches. She would have coffee out—for atmosphere. “Then I’ll come home and study German and read Bavarian history. And after supper…” she tried not to remember the look of that dining room…“I’ll write my diary-letter, except when I go to the opera or concerts.

EVERY workman knows the necessity of keeping his tools in a good state of repair, for “if the iron be blunt, and he do not whet the edge, then must he put to more strength.” If the workman lose the edge from his adze, he knows that there will be a greater draught upon his energies, or his work will be badly done. Michael Angelo, the elect of the fine arts, understood so well the importance of his tools, that he always made his own brushes with his own hands, and in this he gives us an illustration of the God of grace, who with special care fashions for himself all true ministers. It is true that the Lord, like Quintin Matsys in the story of the Antwerp well-cover, can work with the faultiest kind of instrumentality, as he does when he occasionally makes very foolish preaching to be useful in conversion; and he can even work without agents, as he does when he saves men without a preacher at all, applying the word directly by his Holy Spirit; but we cannot regard God’s absolutely sovereign acts as a rule for our action. He may, in His own absoluteness, do as pleases Him best, but we must act as His plainer dispensations instruct us; and one of the facts which is clear enough is this, that the Lord usually adapts means to ends, from which the plain lesson is, that we shall be likely to accomplish most when we are in the best spiritual condition; or in other words, we shall usually do our Lord’s work best when our gifts and graces are in good order, and we shall do worst when they are most out of trim. This is a practical truth for our guidance. When the Lord makes exceptions, they do but prove the rule.

I had better come clean now and say that I do not believe that art (all art) and beauty are ever separate, nor do I believe that either art or beauty are optional in a sane society." "That puts me on the side of what Harold Bloom calls 'the ecstasy of the privileged moment. Art, all art, as insight, as transformation, as joy. Unlike Harold Bloom, I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me." (...) We know that the universe is infinite, expanding and strangely complete, that it lacks nothing we need, but in spite of that knowledge, the tragic paradigm of human life is lack, loss, finality, a primitive doomsaying that has not been repealed by technology or medical science. The arts stand in the way of this doomsaying. Art objects. The nouns become an active force not a collector's item. Art objects. "The cave wall paintings at Lascaux, the Sistine Chapel ceiling, the huge truth of a Picasso, the quieter truth of Vanessa Bell, are part of the art that objects to the lie against life, against the spirit, that is pointless and mean. The message colored through time is not lack, but abundance. Not silence but many voices. Art, all art, is the communication cord that cannot be snapped by indifference or disaster. Against the daily death it does not die." "Naked I came into the world, but brush strokes cover me, language raises me, music rhythms me. Art is my rod and my staff, my resting place and shield, and not mine only, for art leaves nobody out. Even those from whom art has been stolen away by tyranny, by poverty, begin to make it again. If the arts did not exist, at every moment, someone would begin to create them, in song, out of dust and mud, and although the artifacts might be destroyed, the energy that creates them is not destroyed. If, in the comfortable West, we have chosen to treat such energies with scepticism and contempt, then so much the worse for us. "Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. Odd then, that when routine physical threats to ourselves and our kind are no longer a reality, we say we have no time for art. "If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?

We were in Julie’s room one night, my eldest daughter and I, maybe a decade ago now. I wanted to show her how the canvas painting she had carefully labored over for her little sister's Christmas gift was framed and hung on the wall. I said, gazing at her masterpiece with no small amount of motherly pride, “Now it looks like a real work of art”. Bella looked at me quizzically, wondering yet again how her mother could possibly understand so little about the world. “Mama, every time you make something, or draw something, or paint something, it is already real art. There is no such thing as art that is not real” And so I said that she was right, and didn’t it look nice, and once again, daughter became guru and mother became willing student. Which is, I sometimes think, the way it was meant to be. ~~~~~ art is always real. all of it. even the stuff you don’t understand. even the stuff you don’t like. even the stuff that you made that you would be embarrassed to show your best friend that photo that you took when you first got your DSLR, when you captured her spirit perfectly but the focus landed on her shoulder? still art. the painting you did last year the first time you picked up a brush, the one your mentor critiqued to death? it’s art. the story you are holding in your heart and so desperately want to tell the world? definitely art. the scarf you knit for your son with the funky messed up rows? art. art. art. the poem scrawled on your dry cleaning receipt at the red light. the dress you want to sew. the song you want to sing. the clay you’ve not yet molded. everything you have made or will one day make or imagine making in your wildest dreams. it’s all real, every last bit. because there is no such thing as art that is not real.

If you leave off looking at books about beasts and men, if you begin to look at beasts and men then (if you have any humour or imagination, any sense of the frantic or the farcical) you will observe that the startling thing is not how like man is to the brutes, but how unlike he is. It is the monstrous scale of his divergence that requires an explanation. That man and brute are like is, in a sense, a truism; but that being so like they should then be so insanely unlike, that is the shock and the enigma. That an ape has hands is far less interesting to the philosopher than the fact that having hands he does next to nothing with them; does not play knuckle-bones or the violin; does not carve marble or carve mutton. People talk of barbaric architecture and debased art. But elephants do not build colossal temples of ivory even in a roccoco style; camels do not paint even bad pictures, though equipped with the material of many camel's-hair brushes. Certain modern dreamers say that ants and bees have a society superior to ours. They have, indeed, a civilization; but that very truth only reminds us that it is an inferior civilization. Who ever found an ant-hill decorated with the statues of celebrated ants? Who has seen a bee-hive carved with the images of gorgeous queens of old? No; the chasm between man and other creatures may have a natural explanation, but it is a chasm. We talk of wild animals; but man is the only wild animal. It is man that has broken out. All other animals are tame animals; following the rugged respectability of the tribe or type. All other animals are domestic animals; man alone is ever undomestic, either as a profligate or a monk. So that this first superficial reason for materialism is, if anything, a reason for its opposite; it is exactly where biology leaves off that all religion begins.

You are the lifemate of a senstive, modern male. Julian's lazy amusement warmed her further, confirming what she already suspected, that he often stayed a shadow in her mind. How fortunate for me. Desari smiled at herself in the mirror. Her dark hair cascaded in waves down her back. There was a sparkle in her eyes. She knew Julian had made her feel more alive than she had ever been. Sensitive, modern men are so to my liking. Men? I am certain I did not hear my lifemate use the word men.The plural.No man is allowed to be to your liking other than myself. He sounded stern, the fierce Carpathian male at his most menacing. Desari laughed aloud. I suppose I can see your point, Julian, but really, it is so difficult to keep from noticing all of those handsome hunks in the audience. Handsome hunks? His voice dropped low with the affront. They are more like lovesick fops. If they could feel the vibrations in the air, they would show sense and run for their lives. It is bad enough to read their fantasies and hear them talk their trash, cara,but it is altogether worse to hear that my woman is looking back. One smile at the wrong man, lifemate, and trouble will find the man quickly. You sound jealous,she accused him, amusement curving her soft mouth. The first rule for all women to know and never forget is that Carpathian makes do not share their lifemates. Your brother has much to answer for that this was not drilled into you since birth.It was his job to prepare you for my coming. It was said somewhere between jest and complaint. Desari drew in her breath sharply, finding herself wavering between laughter and exasperation. My brother had no idea of your existence, you arrogant male. Besides, how could he possibly prepare me for your total ignorance of women? More likely, had he known you were coming to speak your ritual words, he would have been waiting to ambush you.I myself would have burrowed deep within the ground until you passed beyond my surroundings. You would have burst from the ground staight into my arms,cara mia, and you know this to be true. Now he was laughing, that smug, taunting, male amusement that should have set her teeth on edge but instead made her laugh. I think you are trying to find something to dictate to me about just so you do not lose your ability. Go away and practice this male art form on someone else. You will be singing to me tonight, piccola,and to no other man. You are a spoiled little boy,not a grown man. Should I come show you what a grown man I am? His voice was suddenly low and warm, so sexy she felt a rush of answering heat. She could feel the brush of his fingers against her throat, trailing down the valley between her suddenly aching breasts. Go away,Julian, she laughed in answer. I cannot have you getting me hot and bothered just now. As long as I know you re hot and bothered for me, I will do as you request and go back to work. I can only hope.

Hey,Alex." I composed the words in my head. "I have your book..." D'oh.I would be standing there, holding his book. "Alex.Thought you might want to have this back." Nope.Sounded like I'd taken it, which would be bizarre, or that he'd given it to me, which would be ludicrous. "Hey.This was on the floor in the upstairs hall, and I figured you probably didn't know where it was." Truth is always good. He would look blank for a sec (he probably had no idea he'd dropped it; European history was first period ), then smile gratefully, hazel eyes crinkling at the corners, that mouth turning up in that unbelievably cute way. "Wow.Thanks,Ella! I didn't even know I'd dropped it." See? And I would hand it over-if our fingers brushed, no complaints-and say, "I saw the stuff inside.It's really..." "El.Ella." Sadie bumped me with her button again. "Coming?" "Hmm?" "Where were you? Oh, yeah..." She followed my slightly unfocused gaze and nodded. On her other side, Frankie snorted. She elbowed him.No button on the other sleeve.

In this sense, therefore, inasmuch as we have access to neither the beautiful nor the ugly, and are incapable of judging, we are condemned to indifference. Beyond this indifference, however, another kind of fascination emerges, a fascination which replaces aesthetic pleasure. For, once liberated from their respective constraints, the beautiful and the ugly, in a sense, multiply: they become more beautiful than beautiful, more ugly than ugly. Thus painting currently cultivates, if not ugliness exactly - which remains an aesthetic value - then the uglier-than-ugly (the 'bad', the 'worse', kitsch), an ugliness raised to the second power because it is liberated from any relationship with its opposite. Once freed from the 'true' Mondrian, we are at liberty to 'out-Mondrian Mondrian'; freed from the true naifs, we can paint in a way that is 'more naif than naif', and so on. And once freed from reality, we can produce the 'realer than real' - hyperrealism. It was in fact with hyperrealism and pop art that everything began, that everyday life was raised to the ironic power of photographic realism. Today this escalation has caught up every form of art, every style; and all, without discrimination, have entered the transaesthetic world of simulation. There is a parallel to this escalation in the art market itself. Here too, because an end has been put to any deference to the law of value, to the logic of commodities, everything has become 'more expensive than expensive' - expensive, as it were, squared. Prices are exorbitant - the bidding has gone through the roof. Just as the abandonment of all aesthetic ground rules provokes a kind of brush fire of aesthetic values, so the loss of all reference to the laws of exchange means that the market hurtles into unrestrained speculation. The frenzy, the folly, the sheer excess are the same. The promotional ignition of art is directly linked to the impossibility of all aesthetic evaluation. In the absence of value judgements, value goes up in flames. And it goes up in a sort of ecstasy. There are two art markets today. One is still regulated by a hierarchy of values, even if these are already of a speculative kind. The other resembles nothing so much as floating and uncontrollable capital in the financial market: it is pure speculation, movement for movement's sake, with no apparent purpose other than to defy the law of value. This second art market has much in common with poker or potlatch - it is a kind of space opera in the hyperspace of value. Should we be scandalized? No. There is nothing immoral here. Just as present-day art is beyond beautiful and ugly, the market, for its part, is beyond good and evil.

August 21st DON’T BE MISERABLE IN ADVANCE “It’s ruinous for the soul to be anxious about the future and miserable in advance of misery, engulfed by anxiety that the things it desires might remain its own until the very end. For such a soul will never be at rest—by longing for things to come it will lose the ability to enjoy present things.” —SENECA, MORAL LETTERS, 98.5b–6a The way we nervously worry about some looming bad news is strange if you think about it. By definition, the waiting means it hasn’t happened yet, so that feeling bad in advance is totally voluntary. But that’s what we do: chewing our nails, feeling sick to our stomachs, rudely brushing aside the people around us. Why? Because something bad might occur soon. The pragmatist, the person of action, is too busy to waste time on such silliness. The pragmatist can’t worry about every possible outcome in advance. Think about it. Best case scenario—if the news turns out to be better than expected, all this time was wasted with needless fear. Worst case scenario—we were miserable for extra time, by choice. And what better use could you make of that time? A day that could be your last—you want to spend it in worry? In what other area could you make some progress while others might be sitting on the edges of their seat, passively awaiting some fate? Let the news come when it does. Be too busy working to care.

By the time Lillian had turned twelve ears old, cooking had become her family. It had taught her lessons usually imparted by parents- economy from a limp head of celery left too long in the hydrator, perseverance from the whipping of heavy cream, the power of memories from oregano, whose flavor only grew stronger as it dried. Her love of new ingredients had brought her to Abuelita, the owner of the local Mexican grocery store, who introduced her to avocados and cilantro, and taught her the magic of matching ingredients with personalities to change a person's mood or a life. But the day when twelve-year-old Lillian had handed her mother an apple- fresh-picked from the orchard down the road on an afternoon when Indian summer gave over to autumn- and Lillian's mother had finally looked up from the book she was reading, food achieved a status for Lillian that was almost mystical. "Look how you've grown," Lillian's mother had said, and life had started all over again. There was conversation at dinner, someone else's hand on the brush as it ran through her hair at night. A trip to New York, where they had discovered a secret fondue restaurant, hidden behind wooden shutters during the day, open by candlelight at night. Excursions to farmers' markets and bakeries and a shop that made its own cheese, stretching and pulling the mozzarella like taffy. Finally, Lillian felt like she was cooking for a mother who was paying attention, and she played in an open field of pearl couscous and Thai basil, paella and spanakopita and eggplant Parmesan.

Winslow wants you to learn this"- he waved a few sheets of stapled pages- "and that." He pointed to the book in my lap. Fifty French Conversations. It was one of our textbooks. I'd stopped at the seventeenth: Mon hamster a mange trop de fromage. Il a mal au ventre maintenant. "The rest is the Bainbridge Method." "You have a method?" "Patented and proven." I waved the book. "Does it include greedy, cheese-guzzling hamsters with stomachaches?" He nodded. "Absolutely.French conversations is nothing without rodents and cheese.Is there something shameful in your past involving either?" "Not that I can think of off the top of my head." "Tant pis." "And that means...?" "Fuhgeddaboudit," he translated, grinning. I sighed. "Do people make Russian jokes in your presence?" "How do you get five Russians to agree on anything?" "How?" I asked. "Shoot four of them." I thought for a sec. "I'm not sure that's funny." "No," Alex said. "People don't tell many Russian jokes in my presence." "I should start my three things, huh?" "Yeah.That would be good." I did some speedy translating in my head. "Je n'ai jamais lu Huckleberry Finn, Beloved, ou Moby-Dick." "Ella,no one has read Moby-Dick. The French was passable, but as far as revelations go,that sucked." "Ah, but there's a part deux. All three of those books were required reading last year in my American lit class. I used SparkNotes." "You're kidding, right?" "See?" I daintily brushed Dorito crumbs from my fingertips. "Changes your perception of me, doesn't it?" "No,I mean, 'That's a revelation?' You can do better than that." "Maybe," I agreed, "but it's still early in the game.

But…but that’s tragic! To go through life without color? Unable to appreciate art, or beauty?” He laughed. “Now, sweet-hold your brush before you paint me a martyr’s halo. It’s not as though I’m blind. I have a great appreciation for art, as I believe we’ve discussed. And as for beauty…I don’t need to know whether your eyes are blue or green or lavender to know that they’re uncommonly lovely.” “No one has lavender eyes.” “Don’t they?” His gaze caught hers and refused to let go. Leaning forward, he continued, “Did that tutor of yours ever tell you this? That your eyes are ringed with a perfect circle a few shades darker than the rest of the…don’t they call it the iris?” Sophia nodded. “The iris.” He propped his elbow on the table and leaned forward, his gaze searching hers intently. “An apt term it is, too. There are these lighter rays that fan out from the center, like petals. And when your pupils widen-like that, right there-your eyes are like two flowers just coming into bloom. Fresh. Innocent.” She bowed her head, mixing a touch of lead white into the sea-green paint on her palette. He leaned closer still, his voice a hypnotic whisper. “But when you take delight in teasing me, looking up through those thick lashes, so saucy and self-satisfied…” She gave him a sharp look. He snapped his fingers. “There! Just like that. Oh, sweet-then those eyes are like two opera dancers smiling from behind big, feathered fans. Coy. Beckoning.” Sophia felt a hot blush spreading from her bosom to her throat. He smiled and reclined in his chair. “I don’t need to know the color of your hair to see that it’s smooth and shiny as silk. I don’t need to know whether it’s yellow or orange or red to spend an inordinate amount of time wondering how it would feel brushing against my bare skin.” Opening his book to the marked page, he continued, “And don’t get me started on your lips, sweet. If I endeavored to discover the precise shade of red or pink or violet they are, I might never muster the concentration for anything else.” He turned a leaf of his book, then fell silent. Sophia stared at her canvas. Her pulse pounded in her ears. A bead of sweat trickled down the back of her neck, channeling down between her shoulder blades, and a hot, itchy longing pooled at the cleft of her legs. Drat him. He’d known she was taunting him with her stories. And now he sat there in an attitude of near-boredom, making love to her with his teasing, colorless words in a blatant attempt to fluster her. It was as though they were playing a game of cards, and he’d just raised the stakes. Sophia smiled. She always won at cards. “Balderdash,” she said calmly. He looked up at her, eyebrow raised. “No one has violet lips.” “Don’t they?” She laid aside her palette and crossed her arms on the table. “The slope of your nose is quite distinctive.” His lips quirked in a lopsided grin. “Really.” “Yes.” She leaned forward, allowing her bosom to spill against her stacked arms. His gaze dipped, but quickly returned to hers. “The way you have that little bump at the ridge…It’s proving quite a challenge.” “Is that so?” He bent his head and studied his book. Sophie stared at him, waiting one…two…three beats before he raised his hand to rub the bridge of his nose. Quite satisfactory progress, that. Definite beginnings of fluster.