Beauty Of Sculpture Quotes

But  Phidias was better than most men since he made beautiful sculptures. He was even making one of her—well, he called it “Athena,” but anyone could see it looked like her.

Mathematics, rightly viewed, possesses not only truth, but supreme beauty—a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show.

Her sculptured face was as perfect as a painting.

What a face this girl possessed!—could I not gaze at it every day I would need to recreate it through painting, sculpture, or fatherhood until a second such face is born.

I wish men would decide if women are heavenly angels on high, or earthbound sculptures for their gardens. But either way, we're beauty for consumption.

Evening of a hot day started the little wind to moving among the leaves. The shade climbed up the hills toward the top. On the sand banks the rabbits sat as quietly as little gray, sculptured stones.

However," he continued when she remained silent, her throat a knot of emotion, "it seems Montgomery could not help himself when it came to this vase. I'm afraid he has a weakness for beautiful things and has been known to relocate an item if he feels it is not being accorded the proper appreciation. Once he 'relocated' an ancient sculpture from the home of another archangel.

No pictorial or sculptural combinations of points of human loveliness, do more than approach the living and breathing human beauty as it gladdens our daily path.

I must try to enjoy all the graces that God has given me today. Grace cannot be hoarded. There are no banks where it can be deposited to be used when I feel more at peace with myself. If I do not make full use of these blessings, I will lose them forever. God knows that we are all artists of life. One day, he gives us a hammer with which to make sculptures, another day he gives us brushes and paints with which to make a picture, or paper and a pencil to write with. But you cannot make a painting with a hammer, or a sculpture with a paintbrush. Therefore, however difficult it may be, I must accept today's small blessings, even if they seem like curses because I am suffering and it's a beautiful day, the sun is shining, and the children are singing in the street. This is the only way I will manage to leave my pain behind and rebuild my life.

What a face this girl possessed!—Could I neither die then nor gaze at her face every day, I would need to recreate it through painting or sculpture, or through fatherhood, until a second such face could be born.

But then again, there’s nothing intrinsically valuable about any kind of art. That’s not me complaining or making light. It’s one of the most wonderful aspects to art—the fact that people decide what is beautiful. We don’t get to decide what is food and what is not. (Yes, exceptions exist. Don’t be pedantic. When you pass those marbles, we’re all going to laugh.) But we absolutely get to decide what counts as art. If Yumi’s people wanted to declare that rock arrangements surpassed painting or sculpture as an artistic creation…well, I personally found it fascinating. The spirits agreed.

I became an artist because I wanted to be an active participant in the conversation about art.

What a face this girl possessed!—could I not gaze at it every day I would need to recreate it through painting, sculpture, or fatherhood until a second such face is born. Her face, at once innocent and feral, soft and wild! Her mouth voluptuous. Eyes deep as oceans, her eyes as wide as planets. I likened her to the slender Psyché and judged that the perfection of her face ennobled everything unclean around her: the dusty hems of her bunched-up skirt, the worn straps of her nightshirt; the blackened soles of her tiny bare feet, the coal-stained balcony bricks upon which she sat, and that dusty wrought-ironwork that framed her perch. All this and the pungent air!—almost foul, with so many odors. Ô, that and the spicy night! …Pungency, spice, filth and night, dust and light; all things dark did blossom in sight; flower and bloom, the night has its pearl too—the moon! And once a month it will make the face of this tender girl bloom.

It's a beautiful universe... wondrous and the more exciting because no one has written plays and poems and built sculptures to indicate the structure of desire I negotiate every day as I move about in it.

When the woman you live with is an artist, every day is a surprise. Clare has turned the second bedroom into a wonder cabinet, full of small sculptures and drawings pinned up on every inch of wall space. There are coils of wire and rolls of paper tucked into shelves and drawers. The sculptures remind me of kites, or model airplanes. I say this to Clare one evening, standing in the doorway of her studio in my suit and tie, home from work, about to begin making dinner, and she throws one at me; it flies surprisingly well, and soon we are standing at opposite ends of the hall, tossing tiny sculptures at each other, testing their aerodynamics. The next day I come home to find that Clare has created a flock of paper and wire birds, which are hanging from the ceiling in the living room. A week later our bedroom windows are full of abstract blue translucent shapes that the sun throws across the room onto the walls, making a sky for the bird shapes Clare has painted there. It's beautiful. The next evening I'm standing in the doorway of Clare's studio, watching her finish drawing a thicket of black lines around a little red bird. Suddenly I see Clare, in her small room, closed in by all her stuff, and I realize that she's trying to say something, and I know what I have to do.

No respect for beauty – that was characteristic of today’s society. The works of the great masters were at most employed as ironic references, or used in advertising. Michelangelo’s ‘The Creation of Adam’, where you see a pair of jeans in place of the spark. The whole point of the picture, at least as he saw it, was that these two monumental bodies each came to an end in two index fingers that almost, but not quite, touched. There was a space between them a millimetre or so wide. And in this space – life. The sculptural size and richness of detail of this picture was simply a frame, a backdrop, to emphasise the crucial void in its centre. The point of emptiness that contained everything. And in its place a person had superimposed a pair of jeans.

Mathematics, rightly viewed, possesses not only truth, but supreme beauty— a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry.

I'd convinced myself it would have been different if he'd been as ugly on the outside as he was on the inside, but he wasn't. He was cruel beauty, a sculpture, a god, and I couldn't tear my eyes from him. I'd seen his expression soften in the dungeon with the whip. I'd do anything to have him look at me like that again, no matter how insane he was.

Nonfiction at its best is like fashioning a cabinet. It can never be a sculpture. It can be elegant and very beautiful, but it can never be sculpture. Captive to facts - or predetermined form - it cannot fly.

I sometimes wonder if the hand is not more sensitive to the beauties of sculpture than the eye. I should think the wonderful rhythmical flow of lines and curves could be more subtly felt than seen. Be this as it may, I know I can feel the heart-throbs of the ancient Greeks in their marble gods and goddesses.

A rose, to her, was not a natural sculpture in silence, but a beautiful terror on fire.

What a world. People once made glass sculptures of decay, and they put these sculptures in museums. How strange and beautiful human beings are. And how fragile.

Those who are esteemed umpires of taste, are often persons who have acquired some knowledge of admired pictures or sculptures, and have an inclination for whatever is elegant; but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul.

We should remember that even Nature's inadvertence has its own charm, its own attractiveness. The way loaves of bread split open on top in the oven; the ridges are just by-products of the baking, and yet pleasing, somehow: they rouse our appetite without our knowing why. Or how ripe figs begin to burst. And olives on the point of falling: the shadow of decay gives them a peculiar beauty. Stalks of wheat bending under their own weight. The furrowed brow of the lion. Flecks of foam on the boar's mouth. And other things. If you look at them in isolation there's nothing beautiful about them, and yet by supplementing nature they enrich it and draw us in. And anyone with a feeling for nature—a deeper sensitivity—will find it all gives pleasure. Even what seems inadvertent. He'll find the jaws of live animals as beautiful as painted ones or sculptures. He'll look calmly at the distinct beauty of old age in men, women, and at the loveliness of children. And other things like that will call out to him constantly—things unnoticed by others. Things seen only by those at home with Nature and its works.

Adriana: I can never decide whether Paris is more beautiful by day or by night. Gil: No, you can't, you couldn't pick one. I mean I can give you a checkmate argument for each side. You know, I sometimes think, how is anyone ever gonna come up with a book, or a painting, or a symphony, or a sculpture that can compete with a great city. You can't. Because you look around and every street, every boulevard, is its own special art form and when you think that in the cold, violent, meaningless universe that Paris exists, these lights, I mean come on, there's nothing happening on Jupiter or Neptune, but from way out in space you can see these lights, the cafés, people drinking and singing. For all we know, Paris is the hottest spot in the universe.

I learn big girls, even obese ones, were once seen as normal, preferred, beautiful. I can't imagine a world so... safe. As I flip through the pages, I start thinking that if I'd lived back then, it could have been me in the pictures, as sculptures, as art.

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

Real science is creative, as much so as painting, sculpture, or writing.Beauty, variously defined, is the criterion for art, and likewise a good theory has the elegance, proportion, and simplicity that we find beautiful. Just as the skilled artist omits the extraneous and directs our attention to a unifying concept, so the scientist strives to find a relatively simple order underlying the apparent chaos of perception.

... those who seek the lost Lord will find traces of His being and beauty in all that men have made, from music and poetry and sculpture to the gingerbread men in the pâtisseries, from the final calculation of the pure mathematician to the first delighted chalk drawing of a small child.

Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

I draw my eyes over his face, eyes, cheek, nose, lips, chin. Every part of him is flawless. Like a painting or a sculpture. I saw Michelangelo’s David once and I think Lee Jaehyun is more beautiful than that slab of perfectly-shaped marble.

The world is a glorious bounty. There is more food than can be eaten if we would limit our numbers to those who can be cherished, there are more beautiful girls than can be dreamed of, more children than we can love, more laughter than can be endured, more wisdom than can be absorbed. Canvas and pigments lie in wait, stone, wood, and metal are ready for sculpture, random noise is latent for symphonies, sites are gravid for cities, institutions lie in the wings ready to solve our most intractable problems, parables of moving power remain unformulated and yet, the world is finally unknowable.

sitting in front of the Golden Gate made me think that if we, meaning our culture, could make this bridge-sculpture right now, bad off and broke as we were, then surely we could do almost anything, and we could do it gracefully, powerfully, beautifully, and functionally.

What sort of brainwashing, he had wondered, had created a world in which people worked fifty or sixty hours a week, every week, no matter how beautiful the day outside, no matter what thoughts they were having? Where would the paintings come from? The novels and sculptures? The music?

Every young sculptor seems to think that he must give the world some specimen of indecorous womanhood, and call it Eve, Venus, a Nymph, or any name that may apologize for a lack of decent clothing. I am weary, even more than I am ashamed, of seeing such things. Nowadays people are as good as born in their clothes, and there is practically not a nude human being in existence. An artist, therefore, as you must candidly confess, cannot sculpture nudity with a pure heart, if only because he is compelled to steal guilty glimpses at hired models. The marble inevitably loses its chastity under such circumstances. An old Greek sculptor, no doubt, found his models in the open sunshine, and among pure and princely maidens, and thus the nude statues of antiquity are as modest as violets, and sufficiently draped in their own beauty. But as for Mr. Gibson's colored Venuses (stained, I believe, with tobacco juice), and all other nudities of to-day, I really do not understand what they have to say to this generation, and would be glad to see as many heaps of quicklime in their stead.

Nearly anyone might feel like a painter walking the streets of Paris then, because the light brought it out in you, and the shadows alongside the buildings, and the bridges which seemed to want to break your heart, and the sculpturally beautiful women in Chanel's black sheath dresses, smoking and throwing back their heads to laugh. We would walk into any café and feel the wonderful chaos of it, ordering Pernod or Rhum St James until we were beautifully blurred and happy to be there together.

The Romans learn Art from their Greek slaves, but they learn reluctantly. They are almost Modern in their reluctance; they are almost ready to say that a killing machine is beautiful if it works. They are not quite that modern, and they let Greek craftsmen conceal the brutal militarism with Architecture, Sculpture and Painting. They learn Aesthetics, that strange ability to see in blood gushing from a wound only the beauty of the shape and color.

One by one, they guessed aloud about what Lotto had meant by this sculpture: nautilus, fiddlehead, galaxy. Thread running off its spindle. Forces of nature, perfect in beauty, perfectly ephemeral, they guessed. He was too shy to say time. He’d woken with a dry tongue and the urge to make the abstract concrete, to build his new understanding: that this was the way that time was, a spiral.

It wasn't the many slashes and scars marring his chest that caused her sudden gasp, though she felt the pain of each one. It was the unparalleled beauty of his physique that stole her breath. Dorian's body was rendered by some ancient god of war. No Greek sculpture could compare, no artist could re-create the sleek, predatory masculinity rippling through the complex landscape of his torso.

He is all my art to me now," said the painter gravely. "I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty— his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body— how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.

Yes, I hate blown glass art and I happen to live in the blown glass art capital of the world, Seattle, Washington. Being a part of the Seattle artistic community, I often get invited to galleries that are displaying the latest glass sculptures by some amazing new/old/mid-career glass blower. I never go. Abstract art leaves me feeling stupid and bored. Perhaps it’s because I grew up inside a tribal culture, on a reservation where every song and dance had specific ownership, specific meaning, and specific historical context. Moreover, every work of art had use—art as tool: art to heal; art to honor, art to grieve. I think of the Spanish word carnal, defined as, ‘Of the appetites and passions of the body.’ And I think of Gertrude Stein’s line, ‘Rose is a rose is a rose is a rose.’ When asked what that line meant, Stein said, ‘The poet could use the name of the thing and the thing was really there.’ So when I say drum, the drum is really being pounded in this poem; when I say fancydancer, the fancydancer is really spinning inside this poem; when I say Indian singer, that singer is really wailing inside this poem. But when it comes to abstract art—when it comes to studying an organically shaped giant piece of multi-colored glass—I end up thinking, ‘That looks like my kidney. Anybody’s kidney, really. And frankly, there can be no kidney-shaped art more beautiful—more useful and closer to our Creator—than the kidney itself. And beyond that, this glass isn’t funny. There’s no wit here. An organic shape is not inherently artistic. It doesn’t change my mind about the world. It only exists to be admired. And, frankly, if I wanted to only be in admiration of an organic form, I’m going to watch beach volleyball. I’m always going to prefer the curve of a woman’s hip or a man’s shoulder to a piece of glass that has some curves.

We are young,beautiful scum,pissed off with the world…We are the suicide of the non-generation.We are as far away from anything in the 80s as possible, e.g. 80s' pop automation, the long running saga of the whimsical pop essay and the intrinsic musical sculptures of post-modernism…We are the only young kids in UK Channel Boredom to realise the future is in tight trousers, dyed hair and NOT the baggy loose attitude scum fuck retard zerodom of Madchester

Before, I would have been powdered and perfumed, my hair done in an elaborate style by the patient fingers of servants. The household crake would have written lines in my honor, my dress would have been new, and I would have been as beautifully turned out as glass sculpture from House Canroth. And as empty.

Devlin's disarming blue eyes were set in a face of such perfect masculine beauty that it should have come from a painting or a sculpture. Yet there was nothing aristocratic about his looks. He possessed an earthiness, a sensuality, that was impossible to ignore. If he resembled an angel, it was a fallen one.

Unfortunately, the more time he [Gaunt] spent with Elisabeth, the more apparent it became how fruitless it was to try to want her. He could appreciate her beauty in an artistic sense, as if she were a sculpture in a museum, but it was a flat, textureless sort of admiration. If love was stepping off a cliff in the hope of flying, there was a wall at the precipice that had never been there with Sandys, or Ellwood, or even Devi, whom Gaunt had helplessly adored at thirteen. He felt no fear around Elisabeth, because there was no chance of falling. He was fond of her, but he would never say to her, '"Withhold no atom's atom of I die!

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.

My world is full of beauty, but you avert your eyes. My world is full of light, but you only worship the dark. My world is filled with song, but you exalt silence. My world is filled with delight, but you cut throats that ring with laughter. My world is adorned with exquisite art, but you smash sculptures, destroying ancient civilisations. In my world, people rejoice with one another and share each other’s burdens, but you only preach vanity and greed. What do you know of courage? What do you know of resilience? My world is so vast, it welcomes even you— for your drop of hatred will always be absolved in our ocean of love.

Following Peabody's distracted gaze, Eve had her first view of Jess Barrow. He was beautiful. A painting in motion with a long, shining mane of hair the color of polished oak. His eyes were nearly silver, thickly lashed, intensely focused, as he worked the controls of an elaborate console. His complexion was flawless, tanned to bronze set off by rounded cheekbones and a strong chin. His mouth was full and firm, and his hands, as they flew over the controls, were as finely sculptured as marble. "Roll up your tongue, Peabody," Eve suggested, "before you step on it." "God. Holy God. He's better in person. Don't you just want to bite him?" "Not particularly, but you go ahead." Catching herself, Peabody flushed to the roots of her hair. She shifted on her sturdy legs. This was, she reminded herself, her superior. "I admire his talent." "Peabody, you're admiring his chest. It's a pretty good one, so I can't hold it against you." "I wish he would," she murmured, then cleared her throat as Big Mary stomped back with two dark brown bottles.

The best sculpture, like the head of Nefertiti, says again and again, "The Beautiful One was here, is here, and will be here, forever.

What a world, Sadie thought. People once made glass sculptures of decay, and they put these sculptures in museums. How strange and beautiful human beings are. And how fragile.

The clouds shifted, unblocking part of the moon, and light spilled across the tower, illuminating part of Rhys’s face. It appeared grimmer than it had a moment ago. Even so, he was beautiful. Not in a perfect, Greek god sculpture kind of way but in a pure, unabashedly masculine way. The dark stubble, the small scar slashing through his eyebrow, the gunmetal eyes…

In the woodblock prints of the Genroku period one often finds the features of a pair of lovers to be surprisingly similar, with little to distinguish the man from the woman. The universal ideal of beauty in Greek sculpture likewise approaches a close resemblance between the male and female. Might this not be one of the secrets of love? Might it not be that through the innermost recesses of love there courses an unattainable longing in which both the man and the woman desire to become the exact image of the other? Might not this longing drive them on, leading at last to a tragic reaction in which they seek to attain the impossible by going to the opposite extreme? In short, since their mutual love cannot achieve a perfection of mutual identity, is there not a mental process whereby each of them tries instead to emphasize their points of dissimilarity—the man his manliness and the woman her womanliness—and uses this very revolt as a form of coquetry toward the other? Or if they do achieve a similarity, it unfortunately lasts for only a fleeting moment of illusion. Because, as the girl becomes more bold and the boy more shy, there comes an instant at which they pass each other going in opposite directions, overshooting their mark and passing on beyond to some point where the mark no longer exists.

His personal fulfillment did not lead him to evolve a cheerful Madonna; on the contrary this Madonna was sad; she had already, through his sculptures, known the Descent. The tranquility of his early bas-relief, when Mary still had her decision to make, could never be recaptured. This young mother was committed; she knew the end of her boy’s life. That was why she was reluctant to let him go, this beautiful, husky,healthy boy, his hand clasped for protection in hers. That was why she sheltered him with the side of her cloak. The child, sensitive to his mother’s mood, had a touch of melancholy about the eyes. He was strong, he had courage, he would step forth from the safe harbor of his mother’s lap, but just now he gripped her hand with the fingers of one hand, and with the other held securely to her side. Or was it his own mother he was thinking about, sad because she must leave her son alone in the world? Himself, who clung to her?

On the levels of politics and theology, beauty is perfectly compatible with nonsense and tyranny. Which is very fortunate; for if beauty were incompatible with non­sense and tyranny, there would be precious little art in the world. The masterpieces of painting, sculpture and architecture were produced as religious or political propaganda, for the greater glory of a god, a govern­ment or a priesthood. But most kings and priests have been despotic and all religions have been riddled with superstition. Genius has been the servant of tyranny and art has advertised the merits of the local cult. Time, as it passes, separates the good art from the bad meta­physics. Can we learn to make this separation, not after the event, but while it is actually taking place? That is the question.

I am a sculpture, he thought, and wrapped his arms around himself. He was smiling. This thought made him feel beautiful, made cherry-cordial-fireworks inside him every time he mouthed it to himself.

Publicity images often use sculptures or paintings to lend allure or authority to their own message. Framed oil paintings often hang in shop windows as part of their display. Any work of art 'quoted' by publicity serves two purposes. Art is a sign of affluence; it belongs to the good life; it is part of the furnishing which the world gives to the rich and the beautiful. But a work of art also suggests a cultural authority, a form of dignity, even of wisdom, which is superior to any vulgar material interest; an oil painting belongs to the cultural heritage; it is a reminder of what it means to be a cultivated European. And so the quoted work of art (and this is why it is so useful to publicity) says two almost contradictory things at the same time: it denotes wealth and spirituality: it implies that the purchase being proposed is both a luxury and a cultural value. Publicity has in fact understood the tradition of the oil painting more thoroughly than most art historians. It has grasped the implications of the relationship between the work of art and its spectator-owner and with these it tries to persuade and flatter the spectator-buyer. The continuity, however, between oil painting and publicity goes far deeper than the 'quoting' of specific paintings. Publicity relies to a very large extent on the language of oil painting. It speaks in the same voice about the same things. (P. 129)

It was created to endure for a specific moment in time. Like a sandcastle, or an ice sculpture. Here, and then gone. In a way, that's the beauty of it. Who'd marvel at a sandcastle, if sandcastles lasted forever?

The day I realized Fonny was in love with me was strange. It was the day he gave mama that sculpture. I dumped water over Fonny’s head and scrubbed Fonny's back in the bathtub in a time that seems so long ago. I don’t remember that we ever had any curiosity concerning each other's bodies. Fonny loved me too much. And that meant that there had never been any occasion for shame between us. We were a part of each other. Flesh of each other's flesh which we so took for granted that we never thought of the flesh. And yet, it was no surprise to me when I finally understood that he was the most beautiful person I had seen in all my life.

Someone once said that there's nothing more poetic than the death of a beautiful woman, but I think that's only true until the women get revenge. And I'm done with spending my days hidden away behind heavy curtains and wrought-iron gates. I want to burst forth into the sun and unfold and blossom there, like a waterfall cutting through rock. No more beautiful dead girls. No more sculptures made of women's bones. Never again.

She is so beautiful. My Rose. Finer than sculpture, softer than sand. Rose, I'm kissing you now. Oh God, I have to kiss her. I will die if I don't kiss her, I know that now. It is a fact. I will die. It will kill me.

Aschenbach noticed with astonishment the lad's perfect beauty. His faced recalled the noblest moment of Greek sculpture—pale, with a sweet reserve, with clustering honey-coloured ringlets, the brow and nose descending in one line, the winning mouth, the expression of pure and godlike serenity. Yet with all this chaste perfection of form it was of such unique personal charm that the observer though he had never seen, either in nature or art, anything so utterly happy and consummate.

I can tell by the way he will look lost and puzzled suddenly, all expression dying away from his dear face as though swept clean by an unseen hand, and in its place a mask will form, a sculptured thing, formal and cold, beautiful still but lifeless.

His masculinity was the kind spoken of in sonnets and sung in melodies that seduced a female with only a few syllables. He was utter perfection, a living sculpture. It only riled me further. Such unparalleled beauty wasn’t fair in a male such as him.

Mathematics, rightly viewed, possesses not only truth, but supreme beauty, a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry.

How ironic that in a building where so much emphasis and importance is put on art, decor, painting, sculptures - a place where they want to surround themselves with all these beautiful things - I need to remind them just how important the arts are to young people.

One by one, they guessed aloud about what Lotto had meant by this sculpture: nautilus, fiddlehead, galaxy. Thread running off its spindle. Forces of nature, perfect in beauty, perfectly ephemeral, they guessed. He was too shy to say time. He’d woken with a dry tongue and the urge to make the abstract concrete, to build his new understanding: that this was the way that time was, a spiral. He loved the uselessness of all the effort, the ephemerality of the work. The ocean encroached, it licked their feet. It pushed around the outside wall of the spiral, fingering its way in. When the water had scooped the sand from the lifeguard's chair, revealing white like bone beneath, something broke, and the fragments spun into the future. This day would bend back and shine itself into everything.

It's just there, right in the middle of the foreshore, quite pretty---greens and blues, a white wing, a rusty breast: a duck, dead on the riverbank. It's so pristine, and elegant in the way it is lying, that it looks like a sculpture, not an animal. Never until now have I seriously considered letting the blood of a bird and, with it, that bird's spirit, its experience of drifting along, pushed by the currents of rivers, its experience of flight, of breaking through clouds---the blood of something so beautiful---circulate around my body.

She, the Queen of life. Perfectly sitting, lowering her eyelids and no emotions, allowing her junior making her long aging hair, creating a beautiful illusion for viewers, a perfect Sculpture of an Asian Queen. But nobody knows how much sadness is engulfing her, except her loyalties.

It's Also Tradition to Wear White,I Study Myself in The Mirror Now,as Annabelle Curls My Hair. My Dress is Strapless,Layers of ivory chiffon Floating to The Floor.a Necklace of Diamonds and Rubies Sparkles at My Throat Garnet Leans Against The Newel Post and Whistles As I Come Down The Stairs. My Cheeks Flush. Have You Been To The Royal Palace Yet? Garnet Asks Me.I Stare at Him for a Second Wondering if He's Joking. Yes, I Say Slowly. You Bumped Into Me at The Exetor's Ball. Did I? Garnet's Eyebrows Pinch Together. Huh Well,You Haven't Seen Anytging Until You've Seen The Winter Ball Decorations. We are Escorted to a Extension Made Entirely of Glass. It is Lit with Thousands of Candles. Giving The Room a Beautiful Golden Glow. The Floor is Made Out Of Blue Glass and Enormous Ice Sculptures Glitter in The Flickering Light. I See What Garnet Meant-The Whole Effect is Magnificent.

It's Also Tradition to Wear White,I Study Myself in The Mirror Now,as Annabelle Curls My Hair. My Dress is Strapless,Layers of ivory chiffon Floating to The Floor.a Necklace of Diamonds and Rubies Sparkles at My Throat Garnet Leans Against The Newel Post and Whistles As I Come Down The Stairs. My Cheeks Flush.  Have You Been To The Royal Palace Yet? Garnet Asks Me.I Stare at Him for a Second Wondering if He's Joking. Yes, I Say Slowly. You Bumped Into Me at The Exetor's Ball. Did I? Garnet's Eyebrows Pinch Together. Huh Well,You Haven't Seen Anything Until You've Seen The Winter Ball Decorations. We are Escorted to a Extension Made Entirely of Glass. It is Lit with Thousands of Candles. Giving The Room a Beautiful Golden Glow. The Floor is Made Out Of Blue Glass and Enormous Ice Sculptures Glitter in The Flickering Light. I See What Garnet Meant-The Whole Effect is Magnificent.” 

Two blind men waited at the end of an era, contemplating beauty. They sat atop the world’s highest cliff, overlooking the land and seeing nothing.’ ‘Huh?’ She looked to him. ‘“Can beauty be taken from a man?” the first asked the second. ‘“It was taken from me,” the second replied. “For I cannot remember it.” This man was blinded in a childhood accident. “I pray to the God Beyond each night to restore my sight, so that I may find beauty again.” ‘“Is beauty something one must see, then?” the first asked. ‘“Of course. That is its nature. How can you appreciate a work of art without seeing it?” ‘“I can hear a work of music,” the first said. ‘“Very well, you can hear some kinds of beauty – but you cannot know full beauty without sight. You can know only a small portion of beauty.” ‘“A sculpture,” the first said. “Can I not feel its curves and slopes, the touch of the chisel that transformed common rock into uncommon wonder?” ‘“I suppose,” said the second, “that you can know the beauty of a sculpture.” ‘“And what of the beauty of food? Is it not a work of art when a chef crafts a masterpiece to delight the tastes?” ‘“I suppose,” said the second, “that you can know the beauty of a chef’s art.” ‘“And what of the beauty of a woman,” the first said. “Can I not know her beauty in the softness of her caress, the kindness of her voice, the keenness of her mind as she reads philosophy to me? Can I not know this beauty? Can I not know most kinds of beauty, even without my eyes?” ‘“Very well,” said the second. “But what if your ears were removed, your hearing taken away? Your tongue taken out, your mouth forced shut, your sense of smell destroyed? What if your skin were burned so that you could no longer feel? What if all that remained to you was pain? You could not know beauty then. It can be taken from a man.

It’s a bit ironic, you know,” Henry says, gazing up at it. “Me, the cursed gay heir, standing here in Victoria’s museum, considering how much she loved those sodomy laws.” He smirks. “Actually … you remember how I told you about the gay king, James I?” “The one with the dumb jock boyfriend?” “Yes, that one. Well, his most beloved favorite was a man named George Villiers. ‘The handsomest-bodied man in all of England,’ they called him. James was completely besotted. Everyone knew. This French poet, de Viau, wrote a poem about it.” He clears his throat and starts to recite: “‘One man fucks Monsieur le Grand, another fucks the Comte de Tonnerre, and it is well known that the King of England, fucks the Duke of Buckingham.’” Alex must be staring, because he adds, “Well, it rhymes in French. Anyway. Did you know the reason the King James translation of the Bible exists is because the Church of England was so displeased with James for flaunting his relationship with Villiers that he had the translation commissioned to appease them?” “You’re kidding.” “He stood in front of the Privy Council and said, ‘Christ had John, and I have George.’” “Jesus.” “Precisely.” Henry’s still looking up at the statue, but Alex can’t stop looking at him and the sly smile on his face, lost in his own thoughts. “And James’s son, Charles I, is the reason we have dear Samson. It’s the only Giambologna that ever left Florence. He was a gift to Charles from the King of Spain, and Charles gave it, this massive, absolutely priceless masterpiece of a sculpture, to Villiers. And a few centuries later, here he is. One of the most beautiful pieces we own, and we didn’t even steal it. We only needed Villiers and his trolloping ways with the queer monarchs. To me, if there were a registry of national gay landmarks in Britain, Samson would be on it.

The tragic style of Aeschylus (I use the word "style" in the sense it receives in sculpture, and not in the exclusive signification of the manner of writing,) is grand, severe, and not unfrequently hard: that of Sophocles is marked by the most finished symmetry and harmonious gracefulness: that of Euripides is soft and luxuriant; overflowing in his easy copiousness, he often sacrifices the general effect to brilliant passages. The analogies which the undisturbed development of the fine arts among the Greeks everywhere furnishes, will enable us, throughout to compare the epochs of tragic art with those of sculpture. Aeschylus is the Phidias of Tragedy, Sophocles her Polycletus, and Euripides her Lysippus. Phidias formed sublime images of the gods, but lent them an extrinsic magnificence of material, and surrounded their majestic repose with images of the most violent struggles in strong relief. Polycletus carried his art to perfection of proportion, and hence one of his statues was called the Standard of Beauty. Lysippus distinguished himself by the fire of his works; but in his time Sculpture had deviated from its original destination, and was much more desirous of expressing the charm of motion and life than of adhering to ideality of form.

Things I've Learned in 18 Years of Life   1) True love is not something found, rather [sic] something encountered. You can’t go out and look for it. The person you marry and the person you love could easily be two different people. So have a beautiful life while waiting for God to bring along your once-in-a-lifetime love. Don't allow yourself to settle for anything less than them. Stop worrying about who you're going to marry because God's already on the front porch watching your grandchildren play.   2) God WILL give you more than you can handle, so you can learn to lean on him in times of need. He won't tempt you more than you can handle, though. So don't lose hope. Hope anchors the soul.   3) Remember who you are and where you came from. Remember that you are not from this earth. You are a child of heaven, you're invaluable, you are beautiful. Carry yourself that way.   4) Don't put your faith in humanity, humanity is inherently flawed. We are all imperfect people created and loved by a perfect God. Perfect. So put your faith in Him.   5) I fail daily, and that is why I succeed.   6) Time passes, and nothing and everything changes. Don't live life half asleep. Don't drag your soul through the days. Feel everything you do. Be there physically and mentally. Do things that make you feel this way as well.   7) Live for beauty. We all need beauty, get it where you can find it. Clothing, paintings, sculptures, music, tattoos, nature, literature, makeup. It's all art and it's what makes us human. Same as feeling the things we do. Stay human.   8) If someone makes you think, keep them. If someone makes you feel, keep them.   9) There is nothing the human brain cannot do. You can change anything about yourself that you want to. Fight for it. It's all a mental game.   10) God didn’t break our chains for us to be bound again. Alcohol, drugs, depression, addiction, toxic relationships, monotony and repetition, they bind us. Break those chains. Destroy your past and give yourself new life like God has given you.   11) This is your life. Your struggle, your happiness, your sorrow, and your success. You do not need to justify yourself to anyone. You owe no one an explanation for the choices that you make and the position you are in. In the same vein, respect yourself by not comparing your journey to anyone else's.   12) There is no wrong way to feel.   13) Knowledge is everywhere, keep your eyes open. Look at how diverse and wonderful this world is. Are you going to miss out on beautiful people, places, experiences, and ideas because you are close-minded? I sure hope not.   14) Selfless actions always benefit you more than the recipient.   15) There is really no room for regret in this life. Everything happens for a reason. If you can't find that reason, accept there is one and move on.   16) There is room, however, for guilt. Resolve everything when it first comes up. That's not only having integrity, but also taking care of your emotional well-being.   17) If the question is ‘Am I strong enough for this?’ The answer is always, ‘Yes, but not on your own.’   18) Mental health and sanity above all.   19) We love because He first loved us. The capacity to love is the ultimate gift, the ultimate passion, euphoria, and satisfaction. We have all of that because He first loved us. If you think about it in those terms, it is easy to love Him. Just by thinking of how much He loves us.   20) From destruction comes creation. Beauty will rise from the ashes.   21) Many things can cause depression. Such as knowing you aren't becoming the person you have the potential to become. Choose happiness and change. The sooner the better, and the easier.   22) Half of happiness is as simple as eating right and exercising. You are one big chemical reaction. So are your emotions. Give your body the right reactants to work with and you'll be satisfied with the products.

The awfulness of sudden death and the glory of heaven stunned me! The thing that had been mystery at twilight, lay clear, pure, open in the rosy hue of dawn. Out of the gates of the morning poured a light which glorified the palaces and pyramids, purged and purified the afternoon's inscrutable clefts, swept away the shadows of the mesas, and bathed that broad, deep world of mighty mountains, stately spars of rock, sculptured cathedrals and alabaster terraces in an artist's dream of color. A pearl from heaven had burst, flinging its heart of fire into this chasm. A stream of opal flowed out of the sun, to touch each peak, mesa, dome, parapet, temple and tower, cliff and cleft into the new-born life of another day. I sat there for a long time and knew that every second the scene changed, yet I could not tell how. I knew I sat high over a hole of broken, splintered, barren mountains; I knew I could see a hundred miles of the length of it, and eighteen miles of the width of it, and a mile of the depth of it, and the shafts and rays of rose light on a million glancing, many-hued surfaces at once; but that knowledge was no help to me. I repeated a lot of meaningless superlatives to myself, and I found words inadequate and superfluous. The spectacle was too elusive and too great. It was life and death, heaven and hell.

Whenever the sixth tune on the flip side of the LP, “Atlanta Blues,” began, she would grab one of Tengo’s body parts and praise Bigard’s concise, exquisite solo, which was sandwiched between Armstrong’s song and his trumpet solo. “Listen to that! Amazing—that first, long wail like a little child’s cry! What is it—surprise? Overflowing joy? An appeal for happiness? It turns into a joyful sigh and weaves its way through a beautiful river of sound until it’s smoothly absorbed into some perfect, unknowable place. There! Listen! Nobody else can play such thrilling solos. Jimmy Noone, Sidney Bechet, Pee Wee Russell, Benny Goodman: they’re all great clarinetists, but none of them can create such perfectly sculptured works of art.

Stained-glass windows glowed faintly in the moonlight streaming through, illuminating the sculpture of Christ on the cross that hung above the altar. It was the most beautiful thing he had ever seen. Then the sculpture seemed to move, and Christ’s body twisted on the cross to look directly at him. ...Jesus, the son of God and his saviour, seemed be smiling at him.

Peter is still amazed at the degree to which a certain widening gyre of accolades can change an artist's work, literally change it, not just the new stuff but the old as well, the pieces that have been around for a while, that have seemed "interesting" or "promising" but minor, until (not often, just once in a while) an artist is by some obscure consensus declared to have been neglected, misrepresented, ahead of his time. What's astonishing to Peter is the way the work itself seems to change, more or less in the way of a reasonably pretty girl who is suddenly treated as a beauty. Peculiar, clever Victoria Hwang is going to be in Artforum next month, and probably in the collections of the Whitney and the Guggenheim; Renee Zellweger - moonfaced, squinty-eyed, a character actress if ever there was one - was just on the cover of Vogue, looking ravishing in a silver gown. It is, of course, a trick of perception - the understanding that that funny little artist or that quirky-looking girl must be taken with new seriousness - but Peter suspects there's a deeper change at work. Being the focus of that much attention (and, yes, of that much money) seems to differently excite the molecules of the art or the actress or the politician. It's not just a phenomenon of altered expectations, it's a genuine transubstantiation, brought about by altered expectations. Renée Zellweger becomes a beauty, and would look like a beauty to someone who had never heard of her. Victoria Hwang's videos and sculptures are about, it seems, to become not just intriguing and amusing but significant.

Five Poems" 1 Well now, hold on maybe I won't go to sleep at all and it'll be a beautiful white night or else I'll collapse completely from nerves and be calm as a rug or a bottle of pills or suddenly I'll be off Montauk swimming and loving it and not caring where 2 an invitation to lunch HOW DO YOU LIKE THAT? when I only have 16 cents and 2 packages of yoghurt there's a lesson in that, isn't there like in Chinese poetry when a leaf falls? hold off on the yoghurt till the very last, when everything may improve 3 at the Rond-Point they were eating an oyster, but here we were dropping by sculptures and seeing some paintings and the smasheroo-grates of Cadoret and music by Varese, too well Adolph Gottlieb I guess you are the hero of this day along with venison and Bill I'll sleep on the yoghurt and dream of the Persian Gulf 4 which I did it was wonderful to be in bed again and the knock on my door for once signified "hi there" and on the deafening walk through the ghettos where bombs have gone off lately left by subway violators I knew why I love taxis, yes subways are only fun when you're feeling sexy and who feels sexy after The Blue Angel well maybe a little bit 5 I seem to be defying fate, or am I avoiding it?

Everywhere there is beauty, my dear. And those who draw our eye, our ear, any bit of our attention to this beauty are the artists among us. Whether the beauty is a sculpture or a piece of jewelry. A sonata or a sitting room. A well-told story or a well-proportioned building, or even a well-oiled machine. Let us never minimize the gifts of those who bring us beauty in whatever form they are skilled to bring it.

Mathematics, rightly viewed, possesses not only truth, but supreme beauty – a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry.

I'm thinking now of Duchamp, his infamous "sculpture." How by turning a urinal, an object of stable and permanent utility, upside down, he radicalized its reception. By further naming it Fountain, he divested the object of its intended identity, rendering it with an unrecognizable new form. I hate him for this. I hate how he proved that the entire existence of a thing could be changed simply by flipping it over, revealing a new angle to its name, an act completed by nothing else but gravity, the very force that traps us on this earth. Mostly, I hate him because he was right. Because that's what was happening to Lan. The cancer had refigured not only her features, but the trajectory of her being. Lan, turned over, would be dust the way even the word dying is nothing like the word dead. Before Lan's illness, I found this act of malleability to be beautiful, that an object once upturned, becomes even more than its once-singular self. This agency for evolution, which once made me proud ... now betrays me.

On retiring to Capri [Tiberius] devised a pleasance for his secret orgies: teams of wantons of both sexes, selected as experts in deviant intercourse and dubbed analists, copulated before him in triple unions to excite his flagging passions. Its bedrooms were furnished with the most salacious paintings and sculptures, as well as with an erotic library, in case a performer should need an illustration of what was required. Then in Capri's woods and groves he arranged a number of nooks of venery where boys and girls got up as Pans and nymphs solicited outside bowers and grottoes. e acquired a reputation for still grosser depravities that one can hardly bear to tell or be told, let alone believe. For example, he trained little boys (whom he termed tiddlers) to crawl between his thighs when he went swimming and tease him with their licks and nibbles; and unweaned babies he would put to his organ as though to the breast, being by both nature and age rather fond of this form of satisfaction. Left a painting of Parrhasius's depicting Atalanta pleasuring Meleager with her lips on condition that if the theme displeased him he was to have a million sesterces instead, he chose to keep it and actually hung it in his bedroom. The story is also told that once at a sacrifice, attracted by the acolyte's beauty, he lost control of himself and, hardly waiting for the ceremony to end, rushed him off and debauched him and his brother, the flute-player, too; and subsequently, when they complained of the assault, he had their legs broken.

But, as in sculpture, they were fond of dispensing as much as possible with dress, for the sake of exhibiting the more essential beauty of the figure; on the stage they would endeavour, from an opposite principle, to clothe as much as they could well do, both from a regard to decency, and because the actual forms of the body would not correspond sufficiently with the beauty of the countenance. They would also exhibit their divinities, which in sculpture we always observe either entirely naked, or only half covered, in a complete dress.

But if the Crystal Palace vanishes from the face of the earth, who shall trust any more in castles? Will they really pull it down, do you think? If it’s a bubble, it’s a glass bubble, and not meant, therefore, for bursting in the air, it seems to me. And you do want a place in England for sculpture, and also to show people how olives grow. What a beautiful winter garden it would be! But they will pull it down, perhaps; and then, the last we shall have seen of it will be in this description of your letter, and that’s seeing it worthily, too.

5-4-10 Tuesday 8:00 A.M. Made a large batch of chili and spaghetti to freeze yesterday. And some walnut fudge! Relieved the electricity is still on. It’s another beautiful sunny day with fluffy white clouds drifting by. The last cloud bank looked like a dog with nursing pups. I open the window and let in some fresh air filled with the scent of apple and plum blossoms and flowering lilacs. Feels like it’s close to 70 degrees. There’s a boy on a skate board being pulled along by his St. Bernard, who keeps turning around to see if his young friend is still on board. I’m thinking of a scene still vividly displayed in my memory. I was nine years old. I cut through the country club on my way home from school and followed a narrow stream, sucking on a jawbreaker from Ben Franklins, and I had some cherry and strawberry pixie straws, and banana and vanilla taffy inside my coat pocket. The temperature was in the fifties so it almost felt like spring. There were still large patches of snow on the fairways in the shadows and the ground was soggy from the melt off. Enthralled with the multi-layers of ice, thin sheets and tiny ice sickles gleaming under the afternoon sun, dripping, streaming into the pristine water below, running over the ribbons of green grass, forming miniature rapids and gently flowing rippling waves and all the reflections of a crystal cathedral, merging with the hidden world of a child. Seemingly endless natural sculptures. Then the hollow percussion sounds of the ice thudding, crackling under my feet, breaking off little ice flows carried away into a snow-covered cavern and out the other side of the tunnel. And I followed it all the way to bridge under Maple Road as if I didn't have a care in the world.

Miriam admired the statue of a beautiful youth, a pearlfisher; who had got entangled in the weeds at the bottom of the sea, and lay dead among the pearl-oysters, the rich shells, and the seaweeds, all of like value to him now. “The poor young man has perished among the prizes that he sought,” remarked she. “But what a strange efficacy there is in death! If we cannot all win pearls, it causes an empty shell to satisfy us just as well. I like this statue, though it is too cold and stern in its moral lesson; and, physically, the form has not settled itself into sufficient repose.

The conversation swings from the brothers Bush to the war in Iraq to the emerging rights of Muslim women to postfeminism to current cinema—Mexican, American, European (Giorgio goes spasmodically mad over Bu-ñuel), and back to Mexican again—to the relative superiority of shrimp over any other kind of taco to the excellence of Ana’s paella, to Ana’s childhood, then to Jimena’s, to the changing role of motherhood in a postindustrial world, to sculpture, then painting, then poetry, then baseball, then Jimena’s inexplicable (to Pablo) fondness for American football (she’s a Dallas Cowboys fan) over real (to Pablo) fútbol, to his admittedly adolescent passion for the game, to the trials of adolescence itself and revelations over the loss of virginity and why we refer to it as a loss and now Óscar and Tomás, arms over each other’s shoulders, are chanting poetry and then Giorgio picks up a guitar and starts to play and this is the Juárez that Pablo loves, this is the city of his soul—the poetry, the passionate discussions (Ana makes her counterpoints jabbing her cigarette like a foil; Jimena’s words flow like a gentle wave across beach sand, washing away the words before; Giorgio trills a jazz saxophone while Pablo plays bass—they are a jazz combo of argument), the ideas flowing with the wine and beer, the lilting music in a black night, this is the gentle heartbeat of the Mexico that he adores, the laughter, the subtle perfume of desert flowers that grow in alleys alongside garbage, and now everyone is singing— México, está muy contento, Dando gracias a millares… —and this is his life—this is his city, these are his friends, his beloved friends, these people, and if this is all that there is or will be, it is enough for him, his world, his life, his city, his people, his sad beautiful Juárez… —empezaré de Durango, Torreón y Ciudad de

Architecture is perhaps the most beautiful and expressive of all the arts.  Painting and sculpture, noble though they are, lack the utility of architecture and strive to interpret nature rather than to originate.  Architecture is not hampered by the necessity of reproducing something already in existence.  It may raise its spires untrammeled by any nature model; it may fling its arches gloriously across a nave and transept with no similitude in nature to hamper by suggestion.  If his genius be great enough, the architect may tell in his structure truths which may not be put in words, inspire by glories not sung in the divinest harmonies.

Then stole into her the hint of ecstasy. She pressed her face to her knees. The very terribleness of the winters-the very fear and dread subduced her and filled her veins with strong wine. And the beauty-the fierce, dreadful beauty of winter! The summers-Oh, the summers! The unbelievable deep blue of the mountain sky-the huge sculptured skies, the green grass-the young animals, wild and free with startled eyes, the swift-running heels kicking, the perfume, smell of sage and mint and pine and grass and clover and snow, clean from the sweep of hundreds of miles of emptiness-and the loneliness-ah, not loneliness, but serene, deep, tranquil solitude.

The fascination with Medusa did not diminish at the end of the Greek Classical Era. She continued to function as a lightning rod for prevailing cultural attitudes. During the Greco-Roman period, images of Medusa were reproduced for wealthy patrons on mosaics and sculptural reliefs as mostly young and beautiful rather than disturbingly ferocious. Nevertheless, Christian zealots, who were rising in prominence, considered all pagan images abominations to be destroyed, especially of the Gorgon Medusa. During the Medieval period in Europe, Christian scholars considered the beheading of Medusa by Perseus to be an allegory of the virtuous son of god destroying the manifestation of evil, intrinsic to all women, that threatens men's souls.

A movement caught his attention. A flash of white, a dash of color, dusty red against the gray-green of the leaves. Dragon lizards skittered into hiding behind the rocks as he stepped out of the trees into the clearing. A girl, hair dangling down her back in disarray, homespun skirt hitched up underneath a heavy leather apron, her brown feet bare, crouched beside a pool, hand outstretched to a pure white animal with large powerful hind legs and a long muscular tail. He'd read about these strange quadrupeds in the baron's notes. Kangaroos, the New Hollanders called them, and they were plentiful, reds and browns and grays, but white? And the girl like some Valkyrie. Hair the color of warm chestnut settling around her sculptured face.

Renaissance artists, inspired by Greek mythological themes, created frighteningly realistic portrayals of decapitated women with snakes for hair. The elegantly crafted sculpture by Benvenuto Cellini of a youthful Perseus holding Medusa's head aloft while he stands on her decapitated body was erected in the center of Florence in the mid-16th century. This popular theme was emblematic of the Inquisitional murders of women taking place in many areas of Europe during that time, considered necessary to protect civil society from the dangers of uncontrolled female powers. Later, during the 18th-19th centuries, Romantic artists, poets, and Decadents recast Medusa as a beautiful victim, not a monster. In their view, She represented the ecstatic discord between pain and pleasure, beauty and horror, and divinely forbidden sexuality.

I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way--I wonder will you understand me?--his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'--who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad--for he seems to me little more than a lad, though he is really over twenty--his merely visible presence--ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body--how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me!

And how long, impossible question I know, but how long until we’re not capable of having this discussion? How many windows like this do we have left?’ Elizabeth can fool herself no more, can keep Stephen to herself no longer. The day she knew must arrive is here. She has been losing him a paragraph at a time, but the chapter is done. And the book is close to its end. Stephen, fully dressed and shaved, stands among his books. The urns and sculptures from his travels, things he found significant and beautiful, gathered over a lifetime. The awards, the photographs, old friends smiling on boats, boys at school dressed like men, Stephen on mountains, on desert digs, raising a glass in a far-off bar, kissing his wife on their wedding day. This room, this cocoon, every inch of it is his brain, his smile, his kindness, his friendships, his lovers, his jokes. His mind, fully on display. And he knows it is now lost.

The room was two-tiered, its marble balconies filled with rams and water nymphs in fancy dress; a kaleidoscope of colours swayed in time to the beat of hypnotic music. A concerto of absent musicians, it played only in her mind. The numerous chandeliers with sculptured metal frames hung down from chains, with endless fireflies attached. At the far end stretched a grand staircase, dressed with a plush velvet carpet in deep cerise, and ceiling paintings edged with gold embossed dado rails clung to the walls. Then Eve honed in on herself and saw that she wore a crushed white taffeta A-line gown that fit her trim figure like a glove. Her butterfly mask with floral patterns embroidered in red and gold silk sat against her pale skin, her reflection like that of a porcelain doll. A matching shawl rested softly on her shoulders. Everything was so beautiful that she almost totally lost herself in the mirror’s reflection." (little snippet from our book)

But poetry is an affair of the spirit and people who imagine that they are going to turn themselves into great poets by an inordinate admiration of beautiful material things or beautiful people are fostering the most puerile of delusions. It follows that when I talk of the preoccupation with beauty as being absolutely necessary to the poet, I mean spiritual beauty and nothing else. The reason of this is that ethical beauty is at the back of all beauty. Beautiful forms, beautiful sounds, beautiful colours, beautiful faces are simply the channels by which spiritual perfection is suggested to our spirit, and the resulting yearning, the desperate struggle upwards of the soul towards the Supreme Beauty, however dimly and darkly 120 felt, is what produces all great art whether in poetry or in music, or in sculpture, or in painting. That is why all really great Art is founded on and springs from morality. Beauty in the sphere of the spirit is simply goodness in a greater or less degree. The difference between the highest Art and “ Art for Art’s sake ” corresponds to the difference between Philosophy and Sophistry.

Its chief covering seemed to me to be composed of large wings folded over its breast and reaching to its knees; the rest of its attire was composed of an under tunic and leggings of some thin fibrous material. It wore on its head a kind of tiara that shone with jewels, and carried in its right hand a slender staff of bright metal like polished steel. But the face! it was that which inspired my awe and my terror. It was the face of man, but yet of a type of man distinct from our known extant races. The nearest approach to it in outline and expression is the face of the sculptured sphinx—so regular in its calm, intellectual, mysterious beauty. Its colour was peculiar, more like that of the red man than any other variety of our species, and yet different from it—a richer and a softer hue, with large black eyes, deep and brilliant, and brows arched as a semicircle. The face was beardless; but a nameless something in the aspect, tranquil though the expression, and beauteous though the features, roused that instinct of danger which the sight of a tiger or serpent arouses. I felt that this manlike image was endowed with forces inimical to man.

The humans. He found them beautiful, too. These people seemed to be attracted to him, too. They peered at him intently. They leaned in close enough for him to see the tears caught in their eyelashes or hear the intake of their breath. He was held in the palm of this hand. He was kissed chastely by those lips. This cheek leaned against him appreciatively. That heart beat against him. He was watched, he was embraced, he was carried, he was bartered, he was strung around necks and wrists, he was worn, he was put in drawers, he was hidden in boxes, he was dropped in growing pools of warm blood, he was gifted, he was stolen, he was wanted, he was wanted, he was wanted. Eventually, he understood that people weren’t seeing him. They were seeing the objects he was looking out of: sweetmetals. To them, he was the painting in a marble hall, the locket against a breastbone, the hound sculpture hugged by generations of children, the broken clock displayed on the mantel. He was the ring on the finger and he was the tool that carved it, but more than that, he was what was inside the sweetmetal, too; he was the love, he was the hate, he was the life, he was the death, he was everything that made a sweetmetal a sweetmetal.

The modern world had lost the thing which informs every act and gesture of Hatfield, of the King James Bible, and of that incomparable age: a sense of encompassing richness which stretches unbroken from the divine to the sculptural, from theology to cushions, from a sense of the beauty of the created world to the extraordinary capabilities of language to embody it. This is about more than mere sonority or the beeswaxed heritage-appeal of antique vocabulary and grammar. The flattening of language is a flattening of meaning. Language which is not taut with a sense of its own significance, which is apologetic in its desire to be acceptable to a modern consciousness, language in other words which submits to its audience, rather than instructing, informing, moving, challenging and even entertaining them, is no longer a language which can carry the freight the Bible requires. It has, in short, lost all authority. The language of the King James Bible is the language of Hatfield, of patriarchy, of an instructed order, of richness as a form of beauty, of authority as a form of good; the New English Bible is motivated by the opposite, an anxiety not to bore or intimidate. It is driven, in other words, by the desire to please and, in that way, is a form of language which has died.

Nonfiction at its best is like fashioning a cabinet. It can be elegant and very beautiful but it can never be sculpture. Captive to facts—or predetermined forms—it cannot fly. Excepting those masters who transcend their craft—great medieval and Renaissance artisans, for example, or nameless artisans of traditional cultures as far back as the caves who were also spontaneous unselfconscious artists. As in fiction, the nonfiction writer is telling a story, and when that story is well-made, the placement of details and events is never random. The parts are not strung out in a line but come around full circle, like a necklace, to set off the others. They resonate, rekindle one another, stirring the reader with a cumulative effect. A good essay or article can and should have all the attributes of a good short story, including structure and design, pacing and effective placement of its parts—almost all the attributes of fiction except the creative imagination, which can never be permitted to enliven fact. The writer of nonfiction is stuck with objective reality, or should be; how his facts are arranged and presented is where his craft appears, and it can be dazzling when the writer is a good one. The best nonfiction has many, many virtues, among which simple truthfulness is perhaps foremost, yet its fidelity to the known facts is its fatal constraint.

But most of all, where did this deeply complex sweetness come from?! It's far too nuanced to be solely brown sugar!" "Oh, the answer to that is in the flavoring I used." "Soy sauce?!" "Oh my gosh, she added soy sauce to a dessert?!" "I used it at the very end of the recipe. To make the whipped-cream filling, I used heavy cream, vanilla extract, light brown sugar and a dash of soy sauce. Once the cakes were baked, I spread the whipped cream on top, rolled them up and chilled them in the fridge for a few minutes. All of that made the brown sugar in the cake both taste and look even cuter than it did before." "Aah, I see. The concept is similar to that of salted caramels. Add salt to something sweet.. ... and by comparison the sweetness will stand out on the tongue even more strongly. She's created a new and unique dessert topping- Soy Sauce Whipped Cream!" "Soy sauce whipped cream, eh? I see! So that's how it works!" Since it isn't as refined as white sugar, brown sugar retains trace amounts of minerals, like iron and sodium. The unique layered flavor these minerals give to it matches beautifully with the salty body of soy sauce! "Without brown sugar as the main component, this exquisite deliciousness would not be possible!" "It tastes even yummier if you try some of the various fruits in between each bite of cake. The candy sculptures are totally edible too. If you break one up into crumbs and crunch on it while taking a bite of the cake, it's super yummy." How wonderfully surprising! Each and every bite... ... is an invitation to a land of dreams!

All these appeals to art to set herself more in harmony with modern progress and civilisation, and to make herself the mouthpiece for the voice of humanity, these appeals to art 'to have a mission,' are appeals which should be made to the public. The art which has fulfilled the conditions of beauty has fulfilled all conditions: it is for the critic to teach the people how to find in the calm of such art the highest expression of their own most stormy passions. 'I have no reverence,' said Keats, 'for the public, nor for anything in existence but the Eternal Being, the memory of great men and the principle of Beauty.' Such then is the principle which I believe to be guiding and underlying our English Renaissance, a Renaissance many-sided and wonderful, productive of strong ambitions and lofty personalities, yet for all its splendid achievements in poetry and in the decorative arts and in painting, for all the increased comeliness and grace of dress, and the furniture of houses and the like, not complete. For there can be no great sculpture without a beautiful national life, and the commercial spirit of England has killed that; no great drama without a noble national life, and the commercial spirit of England has killed that too. It is not that the flawless serenity of marble cannot bear the burden of the modern intellectual spirit, or become instinct with the fire of romantic passion - the tomb of Duke Lorenzo and the chapel of the Medici show us that - but it is that, as Theophile Gautier used to say, the visible world is dead, LE MONDE VISIBLE A DISPARU.

Nor is it only as a sign of greater gentleness or refinement of mind, but as a proof of the best possible direction of this refinement, that the tendency of the Gothic to the expression of vegetative life is to be admired. That sentence of Genesis, 'I have given thee every green herb for meat,' like all the rest of the book, has a profound symbolical as well as literal meaning. It is not merely the nourishment of the body, but the food of the soul, that is intended. The green herb is, of all nature, that which is most essential to the healthy spiritual life of man. Most of us do not need fine scenery; the precipice and the mountain peak are not intended to be seen by all men, — perhaps their power is greatest. over those who are unaccustomed to them. But trees and fields and flowers were made for all, and are necessary for all. God has connected the labour which is essential to the bodily sustenance with the pleasures which are healthiest for the heart; and while He made the ground stubborn, He made its herbage fragrant, and its blossoms fair. The proudest architecture that man can build has no higher honour than to bear the image and recall the memory of that grass of the field which is, at once, the type and the support of his existence; the goodly building is then most glorious when it is sculptured into the likeness of the leaves of Paradise; and the great Gothic spirit, as we showed it to be noble in its disquietude, is also noble in its hold of nature; it is, indeed, like the dove of Noah, in that she found no rest upon the face of the waters, — but like her in this also, 'Lo, in her mouth was an olive branch, plucked off.

You are God. You want to make a forest, something to hold the soil, lock up energy, and give off oxygen. Wouldn’t it be simpler just to rough in a slab of chemicals, a green acre of goo? You are a man, a retired railroad worker who makes replicas as a hobby. You decide to make a replica of one tree, the longleaf pine your great-grandfather planted- just a replica- it doesn’t have to work. How are you going to do it? How long do you think you might live, how good is your glue? For one thing, you are going to have to dig a hole and stick your replica trunk halfway to China if you want the thing to stand up. Because you will have to work fairly big; if your replica is too small, you’ll be unable to handle the slender, three-sided needles, affix them in clusters of three in fascicles, and attach those laden fascicles to flexible twigs. The twigs themselves must be covered by “many silvery-white, fringed, long-spreading scales.” Are your pine cones’ scales “thin, flat, rounded at the apex?” When you loose the lashed copper wire trussing the limbs to the trunk, the whole tree collapses like an umbrella. You are a sculptor. You climb a great ladder; you pour grease all over a growing longleaf pine. Next, you build a hollow cylinder around the entire pine…and pour wet plaster over and inside the pine. Now open the walls, split the plaster, saw down the tree, remove it, discard, and your intricate sculpture is ready: this is the shape of part of the air. You are a chloroplast moving in water heaved one hundred feet above ground. Hydrogen, carbon, oxygen, nitrogen in a ring around magnesium…you are evolution; you have only begun to make trees. You are god- are you tired? Finished?

That there is struggle and inequality even in beauty, and war for power and supremacy: that doth he here teach us the plainest parable. How divinely do vault and arch here contrast in the struggle: how with light and shade they strive against each other, the divinely striving ones. — This is a clear description of the Gothic cathedral where you really feel that life itself has become congealed-one could say it was congealed life. It is often compared to a wood or to the branches of a tree; all sorts of animals run up and down those columns and spires. It is wood that has become stone, or spirit that has become incorruptible matter, and the architecture symbolizes the struggle from which it arose. One sees the struggle itself represented in Norman art, in those manifold representations of the fight between man and monsters, particularly. In the Gothic cathedral this conflict is fully developed and fully represented in the enormous height and depth, in the light and the shadow, and in the extraordinary complication of all those architectural forms melting into each other, or fighting one another. It is also expressed in the peculiar arches built outside the church to support the walls inside; it gives one the idea of tremendous tension, of a thing that is almost bursting. When you look, for instance, in Notre Dame in Paris, at the tension of the walls inside supported by the arches, you realize how daring the whole enterprise was-to catch so much spirit in matterand what they had to do in order to secure it. There is no such thing in the Norman cathedrals; they are really made of stone, while in the Gothic cathedrals one begins to doubt the weight of the stone. And a little later one sees the same peculiarity in sculpture. In the cinquecento sculpture of Michelangelo and the later men, they seemed to deny the immobility of the stone; up to that time, stone had been practically immovable, even Greek sculpture, but with Michelangelo, the stone began to move with a surplus of life which is hardly believable. It seems as if it either were not stone or as if something wrong had happened. There is too much life, the stone seems to walk away. It begins to move till the whole thing falls asunder. You see, that is what Nietzsche is describing here. He calls them the divinely striving ones that are no longer striving; they have congealed, they have come to rest. Jung, C. G.. Nietzsche's Zarathustra: Notes of the Seminar given in 1934-1939. Two Volumes: 1-2, unabridged (Jung Seminars) (p. 1109-1110)

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

I thought my life with Kelli could be balanced, mitigated,. That Irene had just been doing it all wrong these years. I' thought we could hang out like normal sisters, run errands, go for lattes with Jessica Hendy, and every now and then go off and have a little temper tantrum if Kelli go on my nerves--leave her in the car, assume she'd be fine. I'd assumed I could indulge myself if need be, that there could be some kind of fulfillment beyond my sister's care--that I didn't have to give myself over to it completely. But here's what I needed to understand--what Irene understood. Either you were all in with Kelli, or you were not. But if you were, Kelli had to become your joy. Kelli would be where you went for meaning. Kelli was what it was all about. And Irene was right about this too-- it was like faith. It was exactly like faith in that you had to stop futzing around and let it take you over. No more hemming and hawing. No more trying to have it both ways. And once you put your petty shit aside --your petty ego and your petty needs and your petty ambitions--that was when at last the world opened up. The world that was Kelli. It was a small world, a circumscribed world but it was your world and you did what you could to make it more beautiful. You focused on hygiene, nourishing meals, a pleasing home that always smelled good. That was your achievement and more important that was you. Once you accept that, you were--and this was strange to think, but the moment I thought it, I realized I put my finger on the savagely beating heart of my mother's philosophy--free. When I was a kid, my mother had a lavishly illustrated encyclopedia of saints she would sometimes flip through with me, and I remember how she always made a point of skipping over Saint Teresa of Avila . She didn't want to talk about the illustration that went with it. It was a photograph of the sculpture The Ecstasy of Saint Teresa, and it was pretty obvious to me even as a child why my mother disapproved. It was a sexy sculpture. The smirking angel prepares to pierce Teresa's heart with his holy spear, and boy oh boy is Saint Teresa ready. Her eyes are closed, her lips are parted, and somehow everything about her marble body, swathed in marble clothing looks to be in motion. Saint Teresa is writhing. She's writhing because that is what it is to be a Catholic Saint. This is your fulfillment. The giving over. The letting go. The disappearance. This is what it takes

Is beauty something one must see, then?’ the first asked. “‘Of course. That is its nature. How can you appreciate a work of art without seeing it?’ “‘I can hear a work of music,’ the first said. “‘Very well, you can hear some kinds of beauty—but you cannot know full beauty without sight. You can know only a small portion of beauty.’ “‘A sculpture,’ the first said. ‘Can I not feel its curves and slopes, the touch of the chisel that transformed common rock into uncommon wonder?’ “‘I suppose,’ said the second, ‘that you can know the beauty of a sculpture.’ “‘And what of the beauty of food? Is it not a work of art when a chef crafts a masterpiece to delight the tastes?

I want to take our museum bodies and turn them into art galleries to show us how lovely we are. I want to dust off the fingerprints of old lovers, take down the signs that name our bodies ancient history, turn every wounded object inside us into something that can still be looked at and seen as beautiful, not an object from an era we are glad we are not living through any more. I want us to love ourselves like we love art. I want whole gallery walls dedicated to our soft hearts, vermilion and crimson and indigo across canvas after canvas framed in gold. I want sculptures made from the tears we cried over losing everything. I want our skins to be a celebration: The texture is what makes this art, all these lines and blemishes and spots that show the artist's love. I don't want us to look at ourselves as forgotten things we hate any more. I want us to look at ourselves and see art.

The main rectangular swimming pool ran perpendicular to the house, which you wouldn't know because it was almost completely covered in a cloud of white. I walked closer, stunned at the beautiful lotus and water lily blooms floating beneath my feet. A glass aisle was laid across the center. You felt like you were walking---or sitting--- in a Monet painting. Complementary flowers lined the sides of the aisles, with chairs extending on either side of the now-concealed pool deck. I had no idea what wizardry kept the central flowers from floating freely, but my sister would walk down the aisle above a lush bed of white blossoms. Beside it, the ornamental gardens had been tented for the reception. Cedric had managed to integrate the existing stone sculptures (French, Greek, and Italian antiques, of course) into the design. Tables dotted the scene, covered in custom cream linens with Italian lace overlays. Cut crystal stemware and antique silverware donned each place setting and would sparkle later that evening from the glow cast down from the crystal chandeliers overhead. And the flowers. The all-white flowers also created a table-runner effect that filled the entire length of each table and spilled over and down the sides. A backdrop and stage had been erected at the end opposite the house, then covered in a cascade of white peonies and roses and mirrored by florals draped around the doorframes and windows of the back of our house. It was an enchanted garden, rivaling that of a royal wedding.

Jenny leaning far over the table, Robin far back, her legs thrust under her, to balance the whole backward incline of the body, and Jenny so far forward that she had to catch her small legs in the back rung of the chair, ankle out and toe in, not to pitch forward on the table—thus they presented the two halves of a movement that had, as in sculpture, the beauty and the absurdity of a desire that is in flower but that can have no burgeoning, unable to execute its destiny; a movement that can divulge neither caution nor daring, for the fundamental condition for completion was in neither of them; they were like Greek runners, with lifted feet but without the relief of the final command that would bring the foot down—eternally angry, eternally separated, in a cataleptic frozen gesture of abandon.

Jenny leaning far over the table, Robin far back, her legs thrust under her, to balance the whole backward incline of the body, and Jenny so far forward that she had to catch her small legs in the back rung of the chair, ankle out and toe in, not to pitch forward on the table—thus they presented the two halves of a movement that had, as in sculpture, the beauty and the absurdity of a desire that is in flower but that can have no burgeoning, unable to execute its destiny; a movement that can divulge neither caution nor daring, for the fundamental condition for completion was in neither of them; they were like Greek runners, with lifted feet but without the relief of the final command that would bring the foot down—eternally angry, eternally separated, in a cataleptic frozen gesture of abandon.

When I got to the museum, I was stunned to discover what a great civilization Mesopotamia was, what a fascinating place I’d grown up in. There were sculptures from the Sumerian, Babylonian, and the Assyrian era, and some were amazingly intact. They were beautiful and absolutely mesmerizing, and I carefully examined every one and read all of the information about them. An hour earlier, I’d been enjoying the beauty of iconic structures in London, but the sculptures in that museum were thousands of years older and told me so much about my heritage and culture. The Lamassu, a winged bull with a human head, especially filled me with pride. It was such a magnificent structure, so delicately carved with great imagination and knowledge beyond our understanding.

Student: Master, I will join your temple, what will I be here? Master: Here we take the logs and make a beautiful wooden sculpture out of them! So you will transform into something else here! Student: But I'm not a log, am I? Master: In this temple, what matters is not how you see yourself, but how we see you!

Under the pink wash of dawn, an unexpected foot of snow suffocates the landscape. The sight of so much transcendent white causes me to stare for minutes on end, mesmerized. More than mesmerized. In absolute awe. I've experienced this one other time: freshman year of high school, a ten-day trip to Italy with my school.... It was the first and only time I've seen Michelangelo's -La Pietà-. It took a moment to realize what it was, but then it clicked. This was Mary holding the body of her son. I had seen a thousand images of Jesus on the trip, but this sculpture grabbed my heart and squeezed so hard I stopped breathing. At that age, I cared little for art and had no connection with Jesus, but in that moment, I was so transfixed by this sculpture -- -how could it be so smooth?- --that I began to weep. Right there. Tears fell, and I thought I was having some kind of religious experience. But it wasn't that. It was the combination of profound beauty and sadness at such an exquisite level that it left me no option other than to cry. I hadn't experienced anything like that again. Until now. This snowfall. The beauty enveloping the sadness. With the tears welling in my eyes, I think once again about death. The rainbow in the cornfield. It's all so gorgeous, and it's all so tragic. The extremes of human emotion and how ironic that thoughts of dying fill me with such life. I'm still staring transfixed at the world outside when my father's voice resonates behind me. 'What a fuckhole of a mess out there.' And the beauty is gone. The sadness, however, remains. [Rose Yates]

Museums of primitive art are filled with masks, figurines, bas-relief sculptures, all looted from all over the world and robbed of their meanings. For those who created them, life resided not in the object itself, but rather in the spirit that inspired it. A corpse, even one artistically entombed, is still a dead body. They are no longer works of art, but simply objects. They are beautiful, whereas they should be alive, From time immemorial, humans have sculpted to magnify their gods. There is a reason why some religions are against any depiction of their gods while others are committed to the practice. There is some form of highly human insolence in recreating the god that created you, and there is a risk of adoring the tangible representation in itself instead of the discarnate deity. That is what sculpture is: both a tribute and a challenge to the gods. Some spiritualities tolerate this ambivalence, others don't. Others yet use representations to further tighten control over their flock and guarantee their submissiveness. They select the artists and dictate the dogma they should represent. Sculpture is both the easiest and the most delicate of art forms. It is more than just hewing a form out of a compact block, or reproducing a model: you have to breathe life into It. That is not something you can learn or improvise. There is always some part of yourself that you infuse into the material. In our modern world, where art is a business like any other, techniques are taught, but the magic, on the other hand, is still a gift, midway between bliss and suffering.

they were sculptures. Then he tried to step between two Greek spearmen, and they moved with surprising speed, their joints cracking and spraying ice crystals as they crossed their javelins to block Jason’s path. From the far end of the hall, a man’s voice rang out in a language that sounded like French. The room was so long and misty, Jason couldn’t see the other end; but whatever the man said, the ice guards uncrossed their javelins. “It’s fine,” Khione said. “My father has ordered them not to kill you just yet.” “Super,” Jason said. Zethes prodded him in the back with his sword. “Keep moving, Jason Junior.” “Please don’t call me that.” “My father is not a patient man,” Zethes warned, “and the beautiful Piper, sadly, is losing her magic hairdo very fast.

Sculpture is about process, and this process is often fragmented. In a way, our lives are like that. A lot of people have trouble with transitions, with discontinuity. But this is what makes us grow. It’s mysterious. You shift to a new platform and see things from a different perspective. Art does that. Wildlife does that. Wildlife and art reveal these transitions and demand we experience them.

Bertrand Russell wrote about the beauty of mathematical science: “Mathematics, rightly viewed, possesses not only truth, but supreme beauty—a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show.

The prince was masculinity incarnate, a beautiful sculpture of death that would delight any female in the throes of her demise. It took everything in me not to throw a dagger at him

A shadow passed over her hand. Strange, because she hadn’t seen any large animals since she’d started welding. Every now and then, she was treated to the sight of a massive whale in the distance. And sometimes at night she listened to their haunting songs as they swam by the city. It was beautiful, and for some reason, it always made tears sting in her eyes. Mouth full, still chewing, she looked up to find the source of the shadow and froze. A monster hovered in front of the glass. His black tail, so long it tangled in the kelp, was at least ten feet long. Blue slashes of fins, so deep they blended in with the water, undulated all along the black scales. It stretched up to his waist, seamlessly turning into that pale, almost gray skin. His body was as all the rumors claimed. So handsome it was painful to look at, and eerily like the gold sculptures that surrounded her.

he's beautiful. so is a sculpture. or a sunset. i'm simply appreciating it, that's all.

The final result definitely has my attention. Even my dick sits up and takes notice of Sienna. She’s lean and toned everywhere. Sleek. Her breasts might be on the smaller side, but it fits her gorgeous body. She’s like a sculpture. A goddess. All I can think is that I’d like to take her sweet nipples in my mouth and lave them with my tongue. I can only hope she knows what Destiny said was bullshit. Because her body is perfection. Much like her sunny personality. Here’s the truth. A lot of women are beautiful, but it’s what’s on the inside that takes someone to the next level. There I go, sounding like some Hallmark shit.

Yoga poses are living sculptures. A sculpture is made beautiful as much from the knocks it receives as from the creative vision of its creator. You are no different

I noticed many of the familiar red stamps. Some were, of course, the stamps of the artists—but there were others. One piece of calligraphy was covered in them. Lucie and Sherry explained: Ancient Chinese scholars and nobility, if they liked a work of art, would sometimes stamp it with their stamp too. One emperor in particular loved to do this, and would take beautiful sculptures or pieces of jade—centuries old—and have his stamp and perhaps some lines of his poetry carved into them. What a fascinating mind-set. Imagine being a king, deciding that you particularly liked Michelangelo’s David, and so having your signature carved across the chest. That’s essentially what this was. The concept was so striking, I began playing with a stamp magic in my head. Soulstamps, capable of rewriting the nature of an object’s existence. I didn’t want to stray too close to Soulcasting from the Stormlight world, and so instead I used the inspiration of the museum—of history—to devise a magic that allowed rewriting an object’s past.

Ambrose is a piece of shit—there’s no denying that—but as mentally ill as he is, he isn’t ugly. He’s a solid sculpture of carved muscle. A slew of cracks run through the exterior, but despite the damage, I still see the beauty in him.

In answer to the question, "How shall we overcome temptation," a noted writer said, "Cheerfulness is the first thing, cheerfulness is the second, and cheerfulness is the third." A habit of cheerfulness, enabling one to transmute apparent misfortunes into real blessings, is a fortune to a young man or young woman just crossing the threshold of active life. He who has formed a habit of looking at the bright, happy side of things, who sees the glory in the grass, the sunshine in the flowers, sermons in stones, and good in everything, has a great advantage over the chronic dyspeptic, who sees no good in anything. His habitual thought sculptures his face into beauty and touches his manner with grace.

HE WAS HUGE! Scary huge. But so beautifully huge. His cock was a sight to behold. It was dark, long and thick, adorned with veins that only made it look like a magnificent sculpture.  Janina was fascinated by every ridge, line, and curve of his enormous cock. She’d never seen a live one before, but she’d seen pictures, and she could say Jared’s cock was extraordinary.

The tiny sculptures revelled in the demotion of their celestial peers soaking up the limelight of human attention after an eon of slumber. Woken from their torpor by the one thing that all art desires; an audience.

In a few minutes, she stood outside Friedrich’s room. She had never been inside before—mostly because she had no reason to. He rarely used his rooms in the royal palace, and after they were married, they would have joint quarters. Now, however, Cinderella had a sneaking suspicion. “Your Grace!” a lady’s maid shrieked when Cinderella pushed the doors open. “Yes, it is as I thought.” She entered the room, although she barely had enough space to walk in. “Your Grace, this might be a little unseemly,” Margrit said. Cinderella pointed to a beautiful writing desk. “That was mine,” she announced. “And I would recognize this rug anywhere. That horse statue used to stand in my parlor—it’s a sculpture of a riding horse I used to have. The tapestry, bookshelf, wall hangings, everything is…

Like sculpture at first. Then, as if the sun rose in her, long gesture. A small smile; then very much so. The beauty of the rite shone; whirling. She whirled and whirled, flaming. Only the body spoke. The body carried her language. Her dance a spell swirling the air, a spiral she was and her shawl, the half circle around her, the curve of the sea-shore and girl, the dancer and the dance apart…

areas, and brilliantly, too. Leonardo is known as one of the greatest painters who ever lived, and many argue he was the greatest artist ever. However, his genius went far beyond the easel and his paintbrushes. His mind could conceive of almost anything, from a beautiful representation of Heaven to graphical illustrations of the human body in a time when there were no such things as CAT scans or x-rays. Leonardo’s lifetime was spent observing and doing so in many different venues. His notebooks were filled with examples of what it means to be human. He looked at life from numerous perspectives and recorded all he saw. From light and shade to perspective and visual perception, from botany and landscape to physical sciences and astronomy, from architecture and planning to sculpture and experiments, from inventing to philosophy, there was nothing that didn’t touch Leonardo da Vinci.

Hesitantly, she glanced at her hand, so pale and delicate looking against the sun-bronzed iron of his body. She bit her lip, knowing she was playing with fire, but truly, he was as beautiful as a god. His body was like a fine classical sculpture, while his broody, quicksilver sensitivity registered a thousand different emotions in his chiseled face, or hid them all. Though she didn't dare move even a finger to explore him, she didn't pull her hand away, either. She noticed in fascination the fierce rhythm of his pounding pulse. "Your heart is racing," she said, sweeping her gaze up to his face. His eyes burned like stars; his face was shadowed. He stroked her neck, his fingertips coming to rest on her artery. "So is yours.

You are so beautiful right now. Your lips are swollen from my kisses and your eyes are such a pretty shade of green. They remind me of a beautiful meadow when I look into them.” She grinned. “You’re the beautiful one. Trust me. You’re the most beautiful man I’ve ever seen. You’re like a living sculpture of the perfect man.” He grinned. “You mean an angel?

Charlotte stood mesmerized. The piece was beautiful, not only sexual but conveying the deep love the man felt for this woman and the child growing in her belly. A tear slid silently down her cheek as she stared at the sculpture. She felt starkly alone for a moment, and then tensed as she felt Daniel move behind her.

Ah, the clues. There’s only one clue. Only one,” said Hortensia. Prudencia gathered her hair at the nape of her neck and drew her chair closer. “And that is . . . ?” she asked. “Harmony, of course. The Ancient Greeks’ άρμουια, the Romans’ harmonia. Herminia would explain it better, she knows so much about this sort of thing . . . Well, how to express it? I think the classical definition refers to balance in the proportions of parts of a whole. As in the sculpture of a beautiful face or body, in the manner in which you arrange flowers in a vase, combining them in ten different ways until you achieve something that satisfies your soul. As a highly qualified woman, you no doubt know that harmony comes from the Greek άρμόζω, which means ‘to fit together,’ ‘to connect.’ That’s the definitive clue, dear, the one that’ll help you solve your detective story.” Miss Prim considered this as she took a bite of apple tart.

The sculptured beauty, the demure silence, the flawless complexion all captured the attention of the males.  It had been scary to watch.

Bertrand Russell once described mathematical beauty in the following words: "Mathematics, rightly viewed, possesses not only truth, but supreme beauty — a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry.

Isadora Duncan Dancing Like sculpture at first. Then, as if the sun rose in her, long gesture. A small smile; then very much so. The beauty of the rite shone; whirling. She whirled and whirled, flaming. Only the body spoke. The body carried her language. Her dance a spell swirling the air, a spiral she was and her shawl, the half circle around her, the curve of the sea-shore and girl, the dancer and the dance apart… (Trascreated by Cathy Strisik and Veronica Golos based on Katalin N. Ullrich’s translation.)

Do not spare a building because it is beautiful or old. Think of what it can do for you, and if the answer is that it can demonstrate your Will, then it must be pulled down to its foundations. Be an iconoclast. You’re doing these people a favour. They may realise life is more than stone and sculpture, and the gods don’t give a damn.

the Doric order the column has no separate base, but rises direct from the top step of the platform on which the building it belongs to stands. It is of massive form and has what is known as an entasis or slightly convex surface, it is generally fluted, that is to say, cut into parallel perpendicular channels, several rings called annulets connecting it with the capital, which consists of an echinus or rounded moulding and an abacus or unrounded slab resting on the echinus. The Doric entablature is equally simple, the architrave being perfectly plain, whilst the frieze is adorned with triglyphs or three upright projections with grooves between them, set at equal distances from each other, the spaces separating them, known as metopes, being as a rule enriched with fine sculptures of figure subjects. The frieze is connected with the cornice by narrow bands called mutules resting on the triglyphs and metopes, and the cornice itself has a plain lower band known as the corona, surmounted by more or less decorated courses of stone or marble. The Ionic and Corinthian orders are alike characterised by lightness and grace rather than massiveness and simplicity. In both, the columns, instead of rising direct from the platform, have a complex base consisting of a number of circular mouldings above another, the fluted shafts are comparatively slim and tapering, and the channels in them are divided by spaces called fillets. In the Ionic order the flat abacus of the Doric capital is replaced by two coiled volutes projecting beyond the echinus on either side, and the horizontal portion between the volutes is surmounted by finely carved leaf mouldings. The Corinthian order is specially distinguished by the ornate decoration of the capitals, that represent calices of flowers and leaves, chiefly those of the acanthus, arranged so as to point upwards and curve outwards in much the same style as they do in nature. The architrave in both the Ionic and the Corinthian orders consists of plain slabs, but the frieze—which is not divided as in Doric buildings into triglyphs and metopes—is in nearly every case enriched with a series of beautiful figure

The Parthenon was 228 feet long by 101 broad, and 64 feet high; the porticoes at each end had a double row of eight columns; the sculptures in the pediments were in full relief, representing in the eastern the Birth of Athene, and in the western the Struggle between that goddess and Poseidon, whilst those on the metopes, some of which are supposed to be from the hand of Alcamenes, the contemporary and rival of Phidias, rendered scenes from battles between the Gods and Giants, the Greeks and the Amazons, and the Centaurs and Lapithæ. Of somewhat later date than the Parthenon and resembling it in general style, though it is very considerably smaller, is the Theseum or Temple of Theseus on the plain on the north-west of the Acropolis, and at Bassæ in Arcadia is a Doric building, dedicated to Apollo Epicurius and designed by Ictinus, that has the peculiarity of facing north and south instead of, as was usual, east and west. Scarcely less beautiful than the Parthenon itself is the grand triple portico known as the Propylæa that gives access to it on the western side. It was designed about 430 by Mnesicles, and in it the Doric and Ionic styles are admirably combined, whilst in the Erectheum, sacred to the memory of Erechtheus, a hero of Attica, the Ionic order is seen at its best, so delicate is the carving of the capitals of its columns. It has moreover the rare and distinctive feature of what is known as a caryatid porch, that is to say, one in which the entablature is upheld by caryatides or statues representing female figures. Other good examples of the Ionic style are the small Temple of Niké Apteros, or the Wingless Victory, situated not far from the Propylæa and the Parthenon of Athens, the more important Temple of Apollo at Branchidæ near Miletus, originally of most imposing dimensions, and that of Artemis at Ephesus, of which however only a few fragments remain in situ. Of the sacred buildings of Greece in which the Corinthian order was employed there exist, with the exception of the Temple of Jupiter at Athens already referred to, but a few scattered remains, such as the columns from Epidaurus now in the Athens Museum, that formed part of a circlet of Corinthian pillars within a Doric colonnade. In the Temple of Athena Alea at Tegea, designed by Scopas in 394, however, the transition from the Ionic to the Corinthian style is very clearly illustrated, and in the circular Monument of Lysicrates, erected in 334 B.C. to commemorate the triumph of that hero's troop in the choric dances in honour of Dionysos, and the Tower of the Winds, both at Athens, the Corinthian style is seen at its best. In addition to the temples described above, some remains of tombs, notably that of the huge Mausoleum at Halicarnassus in memory of King Mausolus, who died in 353 B.C., and several theatres, including that of Dionysos at Athens, with a well-preserved one of larger size at Epidaurus, bear witness to the general prevalence of Doric features in funereal monuments and secular buildings, but of the palaces and humbler dwelling-houses in the three Greek styles, of which there must have been many fine examples, no trace remains. There is however no doubt that the Corinthian style was very constantly employed after the power of the great republics had been broken, and the Oriental taste for lavish decoration replaced the love for austere simplicity of the virile people of Greece and its dependencies. CHAPTER III

Dorian? Is that an important publisher?" "Count Dorian is really famous. How do you not know him?" "I can only think of the Dorian in the painting. You know, Oscar Wilde’s beautiful, cursed one?" he says. "Sorry. And, anyway, why is he important?" he asks, noting her apprehension. "Well, for one thing, he’s a Count." "Pardon..." he mocks, in a French accent. "Why is this Count famous?" "Because he cultivates young talent. He’s launched a lot of young people in different fields: music, painting, sculpture, fashion, theater, movies." She pauses for breath. "And writers, too." "So he’s a type of patron." She nods. "And he’s contacted you about your novels?" She nods again. "And what’s the problem?" "He has an estate in Tuscany, as well as houses in New York and Hong Kong. And he’s asked to meet me." "Are you embarrassed to go on your own? I can take you if you want. But if he’s a talent hunter, you just need to act as natural as possible and you'll be fine. I imagine he’s used to it. He can’t not like you," he says, caressing her face. "He thinks I’m a man..," she whispers. Andrea freezes. "Eh?!" he exclaims, looking at her and suddenly feeling a strange foreboding. "I

Dom?” she asked, her cheeks flaming as she stood naked before him. She’d never stood naked before anyone, even a maid. But the way Dom was scouring her with his rough gaze felt like a caress. A very carnal caress, which loosed a bevy of butterflies in her belly. “I’ve spent years dreaming of you like this, sweeting,” he rasped. “Give me a moment to take it all in.” “If you wish,” she whispered. And that would give her a moment to take him in. Although, sweet Lord in heaven, it might require more than a moment. She’d seen men half-dressed in paintings and even less-dressed in sculptures. But those smooth-skinned bodies were insipid compared to Dom’s hard contours and scarred male beauty. How could she have guessed that such sheer virility lay beneath his subdued clothes? His deliciously muscular chest gleamed with sweat in the warm stable, and his powerful arms lay tense at his sides. Then there was his lean waist, which gave way to rangy hips sporting quite a bulge beneath his drawers. Lord help her. She couldn’t take her eyes from that impressive thickness. And the more she stared, the more it seemed to grow. “This is what you do to me, Jane,” he said in a voice raw with hunger. He grabbed her hand to press it against him there. “I’ve desired you from the day we first met.” As his flesh moved beneath the stockinette, she swallowed. “I don’t recall ever seeing you like this back then--all…big and thrusting. I think I would have noticed.” He choked back a laugh. “It’s the sort of thing a gentleman generally takes great pains to keep his lady from seeing. But tonight you’re making it difficult for me to behave.” “Good! I don’t want you to behave. I want you to be wicked.” She fondled him shamelessly. “With me.” A harsh breath escaped him. “You have no idea what being wicked entails.” “Then perhaps you should show me.” His eyes glinted in the lantern light and he growled, “Perhaps I should.

The Philistines had brought beautiful painted art, sculpture, and pottery to the land of Canaan. The Israelites were still scratching on rocks and using stones for utensils. The Philistines had developed blacksmithing and the new art of forging iron. The Israelites were still using bronze, copper and tin for crude implements and few weapons. The Philistines had iron chariots; the Israelites cowered on foot in the hills and mountains. The Philistines had developed a cosmopolitan culture that traded with the nations of the world, and adopted many ideas and gods into its own. The Israelites still worshipped a primitive invisible demon whose insane jealousy demanded his people avoid contact with other nations. It was a wonder they were having so much trouble overcoming these ignorant, uncouth and uncultured Hebrews.

The idea of creating glass art sculptures in the shapes of lethal viruses struck him as unsettling, original, and breathtakingly beautiful at the same time.

Jesus, I am from a wealthy family I can help You support Your ministry we should marry, it would be a good match.” Yeshua stopped and put His hand up to her cheek. “My Pretty Rose, I have told you before I am not for you.” “But I know You have feelings for me; I can see it in Your eyes.” “Ken (Yes), I love you truly, but as I have said before, you are meant for another.” Mary lowered her head dejectedly as tears welled up in her eyes, I felt sick for her; it would be a good match why would Yeshua be so steadfast against such a marriage? She would make an excellent queen. “Be of good cheer,” He smiled, “for your future husband is in that vary courtyard even now.” Mary brightened and ran into the officer’s courtyard; it was a beautifully manicured garden of trees, flowers, and topiary sculptures but was devoid of people. Mary looked to and fro; only to see two Roman guards standing watch over of the entrance to the quarters, as a Centurion was inspecting them. Disappointed once more Mary left, she returned to where we were but we had continued down the lane. After a moment she saw us and ran to catch up.

See, I have this theory that humans are just living, breathing, talking forms of art, each crafted with a different technique and carved out of different materials. Each beautiful in their own way. And sure, beauty is in the eye of the beholder, and totally subjective, and changes depending on your circumstance, yada-yada-yada… but most of the time, it’s pretty easy to classify people. Like, okay, you know those women who are gorgeous and never know it? Or the men who pass quietly through life, handsome and unnoticed, never begging for attention or crying out for recognition? Those are your watercolors. And the loud, vivacious, gorgeous-and-they-know-it creatures, with bright lipstick and closets full of bold colors and outfits they never wear twice? Acrylics. The graceful, elegant, aging beauties you pick out in the crowd, or across the cafe, the lines on their faces telling a story you just know you’d want to hear, with so many layers and smudges, twists and turns, you’re not even sure where they begin? Charcoals. Then, you’ve got the big-picture-beautiful people, with the collection of interesting features that together make a beautiful face. They’re your oil paintings — best from ten feet away and, at the end of the day, kind of funny looking if you lean closer and analyze all their elements separately. But I’m quickly learning that Chase Croft doesn’t fit any of my categories. He isn’t a brushstroke on canvas, or bumpy layers of paint on a palette, or imperfect lines scratched inside a sketchbook. His features aren’t just gorgeous as a collective — he’s one of those annoyingly attractive people whose every feature is equally stunning. He’s a sculpture.

Who ever thought a mother would need to sanitize a counter of the milk meant for her baby? The milk should be stopped up using a ceremonial rag that's then set at the foot of a towering, infinitely beautiful sculpture carved to honor the Eternal Mother, Giver of Life, and Maker of All Things. This, or else a small white kitten-preferably the runt of the litter-should be kept in the room, along with a very soft pillow, some good cat food, and cold, fresh water, and this kitten should be offered the wayward drops of milk, the occasional tiny spill.

What Ibarra calls the “plan-and-implement” model—the idea that we should first make a long-term plan and execute without deviation, as opposed to the “test-and-learn” model—is entrenched in depictions of geniuses. Popular lore holds that the sculptor Michelangelo would see a full figure in a block of marble before he ever touched it, and simply chip away the excess stone to free the figure inside. It is an exquisitely beautiful image. It just isn’t true. Art historian William Wallace showed that Michelangelo was actually a test-and-learn all-star. He constantly changed his mind and altered his sculptural plans as he worked. He left three-fifths of his sculptures unfinished, each time moving on to something more promising. The first line of Wallace’s analysis: “Michelangelo did not expound a theory of art.” He tried, then went from there. He was a sculptor, painter, master architect, and made engineering designs for fortifications in Florence. In his late twenties he even pushed visual art aside to spend time writing poems (including one about how much he grew to dislike painting), half of which he left unfinished. Like anyone eager to raise their match quality prospects, Michelangelo learned who he was—and whom he was carving—in practice, not in theory. He started with an idea, tested it, changed it, and readily abandoned it for a better project fit. Michelangelo might have fit well in Silicon Valley; he was a relentless iterator. He worked according to Ibarra’s new aphorism: “I know who I am when I see what I do.

This idea of “elements”—not only elements of nature, but elements of our life...apply this idea to the new analysis of subjectivity: immense mistake to consider it as flux of Erlebnisse. Subjectivity is first of all a field, and even its temporality has this structure. Absurdity to conceive it as a punctual present and the indefinite series of punctual-individual Erlebnisse which would be the past.For example, these sculptures remind me of beautiful rocks—one day when someone was showing me, with a sort of fervor which surprised me, some rocks, and gave me some of them, not without some hesitation. I don’t specify the memory or the place and it remains in doubt: it seems to me...Now this 'memory' is not an individual Erlebnis joined back through retention of retention in its singularity. Nor by 'association.' It is: 1. a category, an existential [connected], it is truly deposited in this sculpture that I am seeing, as a certain call is deposited in the three trees of Martinville. 2. An element therefore in the sense of water, of air, etc., that is, not an object or an individual, but a mode of sensing. The memory as a reference to a Zeitpunkt is to be understood as a limit case of these matrixes. There is no Zeitpunkt, no more than there is a spatial point. There are only spots, temporal as well as spatial, i.e., beings of transcendence. And the one who understands these beings of transcendence is a field and not 'representation' at all.

Our ordered, logical, comprehensible world may, in a way, be the highest achievement of ego-consciousness: it embodies a coherent, shared creation out of the raw material of the mind; a well-defined work of art carefully sculpted out of chaos. At the same time, this creation inherently imposes limits on our thoughts and worldviews. The very work of art we have every reason to be proud of is also a straitjacket that restricts us to bivalent logic and linear, causal reasoning. If we are to progress in our quest for understanding the world and our condition within it - for understanding the nature of time, space, energy, matter, life, and death - we may have to transcend the boundaries imposed by our art. We may have to shatter the hollow sculpture of our own creation, for we find ourselves imprisoned within it. We may have to acknowledge the formless foundation of chaos, of pure potential, upon which our thoughts and world rest. And then we may be able to re-sculpt the formless potentials into broader, richer, more beautiful, meaningful, and transcendent art.

The likeness of the blue-skinned, flute-toting god, blessed with an unspeakably beautiful face and midnight-black curls, has been replicated in countless sculptures, often clad in colorful clothes and adorned with gold and silver jewelry, relief carvings, paintings, and other artistic mediums, otherwise known as “murti.” Hindus and subscribers of the Bhagavad Gita, as well as practitioners of bhakti yoga, ashtanga yoga, jñana yoga, and karma yoga are intimately familiar with this god of unconditional love, compassion, and tenderness, who has also been crowned “Yogesvara,” the master of yogis and all things mystical.

A warrior-like character evolves when failures and disappointments crush and bludgeon a person and only when he or she sweats it through these testing times, a beautiful sculpture emerges from the scars of the battles fought

A warrior-like character evolves when failures and disappointments crush and bludgeon a person and only when he or she sweats it through these testing times, a beautiful sculpture emerges from the scars of the battles fought

Who ever thought a mother would need to sanitize a counter of the milk meant for her baby? The milk should be sopped up using a ceremonial rag that’s then set at the foot of a towering, infinitely beautiful sculpture carved to honor the Eternal Mother, Giver of Life and Maker of All Things.

Miranda laughed. She missed her friend. She missed New York, the sheer wattage of the place, its mighty abundance, its chaos, its kinetic energy a comfort somehow. How long ago was it, those idyllic years, set free in the city to explore as she liked, to discover some cheap noodle shop or boho boutique or obscure sculpture garden tucked away somewhere in Queens?

wish men would decide if women are heavenly angels on high, or earthbound sculptures for their gardens. But either way we’re beauty for consumption.

I suppose I’d have a little studio somewhere. A real one overlooking the sea, and I’d make beautiful seascapes out of all kinds of fabrics.” “That’s an actual thing?” “It’s called textile art. Think of a combination of sculpture and painting, done with bits of fabric. I started playing around with it when I was a kid. I loved the beach, but my parents never had time to take me. So I made my own beaches—out of fabric scraps. I still play around with it sometimes, but with school, it’s hard to find the time.

Where shells lie thick it is often those that are broken that have the greatest beauty of form; a whelk is dull until one may see the sculptural perfection of the revealed spiral, the skeletal intricacy of the whorled mantle.

I just mean, even if it was done for marketing, they are remarkable sculptures. It's easy to forget how much time goes into things like designing giant fighting robots for movies. It feels cookie-cutter, but thousands of person-hours go into their creation. We love them because they're beautiful, and they're beautiful because of hard work.

As a sculpture, she would be beautiful, if too relentlessly realistic for local tastes. Most Yumenescenes prefer polite abstraction over vulgar actuality.

Wolf swallowed, trying to hide his discomfort behind a cunning smile. “Uh, well, that’s your opinion, Diane.” Through a polished smile, she said, “And I’m the governor.” She turned to look at the ugly, trash-like sculpture again. “As for the sculpture: I think it’s about perspective. If you look closely, even trash can be recycled into something beautiful.” Wolf looked to where she was pointing and noticed that the sculpture’s shadow on the wall was in the shape of a gorgeous swan. Huh. “How about that?” Wolf mused. “I guess some things aren’t always as they appear.” Shaking his head to get his confidence

As I approach, it becomes clear that it is a really . . . REALLY exceptional sculpture. I mean, it’s AWESOME, but it’s also a little bit “New York awesome,” you know? How do I explain how I felt about it? I guess . . . well . . . in New York City people spend ten years making something amazing happen, something that captures the essence of an idea so perfectly that suddenly the world becomes ten times clearer. It’s beautiful and it’s powerful and someone devoted a huge piece of their life to it. The local news does a story about it and everyone goes “Neat!” and then tomorrow we forget about it in favor of some other ABSOLUTELY PERFECT AND REMARKABLE THING. That doesn’t make those things unwonderful or not unique . . . It’s just that there are a lot of people doing a lot of amazing things, so eventually you get a little jaded.

This is abstract art, pure and simple. And art is always a struggle. There is no systematic way to create beautiful and meaningful paintings or sculptures, and there is also no method for producing beautiful and meaningful mathematical arguments.

Even so, he was beautiful. Not in a perfect, Greek god sculpture kind of way, but in a pure, unabashedly masculine way. The dark stubble, the small scar slashing through his eyebrow, the gunmetal eyes.

Nell wants sometimes to ask Shaun how it is he can be an astronaut and believe in God, a Creationist God that is, but she knows what his answer would be. He’d ask how it is she can be an astronaut and not believe in God. They’d draw a blank. She’d point out of the port and starboard windows where the darkness is endless and ferocious. Where solar systems and galaxies are violently scattered. Where the field of view is so deep and multi-dimensional that the warp of space-time is something you can almost see. Look, she’d say. What made that but some heedless hurling beautiful force? And Shaun would point out of the port and starboard windows where the darkness is endless and ferocious, at exactly the same violently scattered solar systems and galaxies and at the same deep and multidimensional field of view warped with space-time, and he would say: what made that but some heedful hurling beautiful force? Is that all the difference there is between their views, then – a bit of heed? Is Shaun’s universe just the same as hers but made with care, to a design? Hers an occurrence of nature and his an artwork? The difference seems both trivial and insurmountable. She remembers walking around a wood with her father one winter’s day when she was nine or ten and there was a full-size tree that they almost walked straight past until they realised it was man-made, it was a sculpture made from tens of thousands of sticks glued together, woven to form the appearance of knots and bark and boles and branches. You couldn’t tell it apart from the other bare, wintry trees, except that once you knew it was an artwork it pulsed with a different energy, a different atmosphere. This feels to her what separates her universe and Shaun’s – a tree made by the hand of nature, and a tree made by the hand of an artist. It’s barely any difference at all, and the profoundest difference in the world.

The prince was masculinity incarnate, a beautiful sculpture of death that would delight any female in the throes of her demise. It took everything in me not to throw a dagger at him—

On the Lake Street sidewalk, in front of the In the Heart of the Beast Theatre, were two big planters made of concrete and found materials, and Jim made a point for several years of trying to keep flowers alive in them: I walked over to HOBT to check on the flowers planted in the concrete sculpture constructions. As with the last two nights, several of the marigolds had been pulled out and left lying on the sidewalk. I push them back in the dirt and watered, but there is likely no winning this one. A measure of the level of alienation at large in the culture. (July 18, 1993) The sacred is everywhere, not just what has been touched by the ritual of the church and not just what is beautiful because it is untouched by human hands. Years later I found the philosophy behind Jim’s approach to this articulated with Wendell Berry’s typical clarity in his poem, “How to Be a Poet,” 2 and I called Jim immediately to read it to him. I choked up when I got to these lines: There are no unsacred places; there are only sacred places and desecrated places.

Asian women are beautiful to behold, like taking in the fine details of human sculptures or fine artwork of beautiful paintings.

In the famous temple sculptures of Khajuraho, one finds beautiful women disrobing themselves on the excuse that a scorpion is climbing up their thighs.

I have been thinking of light, the way it collected in the rain drops that morning I was so full of joy, and the way it shifts and moves in unexpected ways, so that at times this cabin is dark and cool and the next filled with golden warmth. Father spoke of a light that is older than the stars, a divine light that is fleeting yet always present if only one could recognize it. It pours in and out of the souls of the living and dead, gathers in the quiet places in the forest, and on occasion, might reveal itself in the rarest of true art. The entirety of his life was devoted to the hope that someday he would create a sculpture so perfectly carved and balanced, set in just the right place among the trees, that it would be capable of reflecting this light. He had seen it in the works of others, yet be believed he had failed in his own. I wish he could have known the truth. Just weeks after he died, I went to see the bear. It was the end of an autumn day, and as I stepped into the meadow, the light of the setting sun was cooling from oranges and reds to the bluer shades. He had never looked so alive; shadows dipped and curved along his outstretched claws, his fur and muscles seems poised for life, and for a moment, the sun just touching the horizon, the marble seemed to be formed of translucent light itself. I had no doubt of what I was witnessing -- this was not simply a flattering cast of sunset; this was the light Father had sought his entire life. The nearest I can describe is when Father took the back off a piano and showed me how a strong, clear note could cause other strings to vibrate without ever setting finger to them. He said the strings were resonating in sympathy to that pure sound. So it was within me. Shall I allow myself to believe in an immortal soul? If so, then I am certain it was Father's spirit that gathered with the divine light of the world and radiated from that finely carved marble. He always looked to his angels and gods and his Pietà. He never thought to look so near.

The table before the emperor was spread with an entire city of sugar, a city so resplendent it was as though a door had opened into heaven itself. Groves of trees dotted the the table's landscape with beautiful painted castles nestled among hills of pale green. Stars hung from the trees and graced the castle flags. From the ceiling, many dozens of gold and silver stars hung by ribbons over the table, creating a fantastical sky. Amid this wondrous landscape there were sculptures of ancient Roman gods in various scenes: Jupiter on a mountain, lightning bolt in hand; Venus born from a sea of blue; Bacchus in drunken debauchery in a grove of delicate green vines. Ever one to be in control, Michelangelo had insisted he not only develop the many dozen molds but that he also be the one to pour the sugar and finalize the details with sugar paste.

When you travel and go sight seeing you imagine seeing castles, lakes etc but you would not normally have a cemetery at the top of your to see list! Cimitero Monumentale is an old cemetery and, in a way, can also be considered a museum. Many people think of  it as one of the most beautiful cemeteries in the world, because of its monumental mausoleums, impressing sculptures and tombs.

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

The ceiling was high, beautifully composed with interconnected arches, neo-Gothic relief sculptures, and gilded details, in eye-popping contrast to the creamy marble walls and dark blue floor. It was an architectural masterpiece all by itself, and I could only imagine what the other rooms looked like.

No single race has superiority in all of the human activity, such as in sport, music, literature, math, beauty pageant, painting, and sculpture. Thus, where did racists get their god-like stand? The answer’s but just plain and simple: “None!” Or perhaps, God made some races so kind, prone to abuse by those with bully mind.

Herbert Bayer was a photographer, an architect, a painter, and he was also the inventor of photo montage, as well as one of the originators—and probably the first modern—land artist. And so it was the idea that an artist could do all of these things using the same basic design concepts, and that it didn’t really matter if he was creating a beautiful land sculpture or if he was using photography or painting. He was really making art using the same methods, the same Bauhaus-type methods.

I wish men would decide if women are heavenly angels on high, or earthbound sculptures for their gardens. But either way we're beauty for consumption.

For history class, we’re supposed to write a report about a way in which society’s changed over the years. I’m writing about how the world’s view of beauty based on size has changed. With the help of our librarian, Mrs. Pochon, I find reliable sources on the internet and books of photos of paintings and sculptures from a hundred to a thousand years ago. They’re from cultures around the world and show girls with rolls and curves. Girls like me. I learn big girls, even obese ones, were once seen as normal, preferred, beautiful.

The whole landscape showed design, like man's noblest sculptures. How wonderful the power of it's beauty! Gazing awe-stricken, I might have left everything for it. Glad, endless work would then be mine tracing the forces that have brought forth it's features, its rocks and plants and animals and glorious weather. Beauty beyond thought everywhere, beneath, above, made and being made forever. I gazed and gazed and longed and admired until the dusty sheep and packs were far out of sight, made hurried notes and a sketch, though there was no need of either, for the colors and lines and expression of this divine landscape are so burned into mind and heart they surely can never grow dim.

Art isn’t just paintings or sculptures. I can see the beauty of something in the most rudimentary of items. You simply have to look and learn to appreciate the subtle splendor of an object.” He paused. “Or a person.

Beauty, on the other hand, is always on this side. It is in this world, in the present, firm; it can be touched with the hand. That our sexual appetites can taste it is beauty's precondition. Sensuality is, therefore, essential. It confirms beauty. However, beauty can never be reached, because the susceptibilities of sense, more than anything else, block attainment of it. The method by which the Greeks expressed beauty through sculpture was a wise one. I am a novelist. Of all the rubbish that has been invented in the modern times, the profession I have chosen is the worst. Don't you think that for the expression of beauty it is the most bungling and low-class of professions?

Anna went into her bedroom and opened her cedar hope chest, removing the sculpture James had carved of Rose all those years ago. The one she had ripped from his hands in the distillery that night, chastising him for creating it. She put the figurine on the vanity in front of her and stared at it in ardent wonder, thinking of how her ex-husband had carved it with no flaw. Two perfect legs. The meaning behind it was lost to her then, but not now. No, now she understood. James was in love with Rose–mind, body, and soul–and her flawed limb was invisible to him. How fitting to bring it out in this moment, she thought. To gaze at it, hold it close, and reminisce about a most beautiful time in their lives. The relic represented all the wonderful stories the three of them shared when they were young.

It was curious, meeting Diana again after thirty-four years: ‘She looks like a beautiful bit of aging sculpture (is fifty-nine), they don’t have this thing of wanting to look young here, her hair is almost white, no makeup, marvellous figure, same large, perfect face and huge eyes,’ she wrote to Pele de Lappe.

One evening we came on a magnificent lioness on a rock, gazing out across the plains. She was sculptured by the setting sun, as though she were part of the granite on which she lay. I wondered how many lions had lain on the self-same rock during countless centuries while human race was still in its cradle. It was a thought which made me reflect that though civilised man has spent untold treasure on preserving ancient buildings and works of art fashioned by the hand of man, yet he destroys these creatures which typify the perfection of ageless beauty and grace. And he does so for no better reason than to boast of a prowess achieved by means of a weapon designed by man to destroy man, or to use its skin to grace some graceless abode.