Painters Best Quotes

You look best when you're you.

Blessed are the weird people: poets, misfits, writers mystics, painters, troubadours for they teach us to see the world through different eyes.

The best musicians transpose consciousness into sound; painters do the same for color and shape.

Still, the one who best understands the significance of light is not the electrician, not the painter, not the photographer, but the man who lost his sight in adulthood. There must be the wisdom of deficiency in deficiency, just as there is the wisdom of plenty in plenty.

You rest now. Rest for longer than you are used to resting. Make a stillness around you, a field of peace. Your best work, the best time of your life will grow out of this peace.

There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of ever more horrible shapes. And the more nervous they are-the quicker to take fright-the more violent they pray that every storm will be … Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms-they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning; they did their best to depict these monsters just as they had appeared. Takeichi was right: they had dared to paint pictures of devils.

Every song has a composer, every book has an author, every car has a maker, every painting has a painter, and every building has a builder. So it isn't irrational to take this simple logic a little further and say that nature must have had a Maker. It would be irrational to believe that it made itself.

With you as an inspiration, a painter will create his best painting, a writer will write his best literature and a poet will create his best poetry.

My favorite thing about music—when you played it loud enough through good headphones (and I had the best)—was that it softened the edges of the world.

When things don't go as planned, we can either pout and behave like a reticent child, or take some time to reconsider our choices. Ruminate over what we've done in our past, and how best to move forward in our future.

Buddy, I have the BEST idea." "God help me.

Monza never had understood why getting out a tit or two made for a better painting. But painters seemed to think it did, so tits is what you got.

Sculptors, poets, painters, musicians—they’re the traditional purveyors of Beauty. But it can as easily be created by a gardener, a farmer, a plumber, a careworker. It’s the intent you put into your work, the pride you take in it—whatever it is.

For Schwartz this formed the paradox at the heart of baseball, or football, or any other sport. You loved it because you considered it an art: an apparently pointless affair, undertaken by people with special aptitude, which sidestepped attempts to paraphrase its value yet somehow seemed to communicate something true or even crucial about The Human Condition. The Human Condition being, basically, that we're alive and have access to beauty, can even erratically create it, but will someday be dead and will not. Baseball was an art, but to excel at it you had to become a machine. It didn't matter how beautifully you performed SOMETIMES, what you did on your best day, how many spectacular plays you made. You weren't a painter or a writer--you didn't work in private and discard your mistakes, and it wasn't just your masterpieces that counted.

It’s said that everything you eat, even the air you breathe, becomes part of you. The axi that make up the matter you take in come to make up you instead. I, however, find that the moments we take into our souls as memories are far more important than what we eat. We need those moments as surely as the air, and they linger. Potent. Yes, a person is more than their experiences, stacked up like stones. But our best moments are the foundations we use to reach for the sky.

One of the best examples of a polymath is Leonardo da Vinci. Born in Italy in 1452, Leonardo was a sculptor, painter, architect, mathematician, musician, engineer, inventor, anatomist, botanist, geologist, cartographer and writer. Although he received an informal education that included geometry, Latin and mathematics, he was essentially an autodidact, or a self-taught individual.

I don't like to make a distinction between the writer and the painter , finally , because I do both things anyway . Everybody's dreaming and trying to put down their dreams in the way that their hand knows best . I feel as much a unity , as much comradeship , with painters as I do writers .

Will not the good man, who says whatever he says with a view to the best, speak with a reference to some standard and not at random; just as all other artists, whether the painter, the builder, the shipwright, or any other look all of them to their own work, and do not select and apply at random what they apply, but strive to give a definite form to it?

The foreign correspondent is frequently the only means of getting an important story told, or of drawing the world's attention to disasters in the making or being covered up. Such an important role is risky in more ways than one. It can expose the correspondent to actual physical danger; but there is also the moral danger of indulging in sensationalism and dehumanizing the sufferer. This danger immediately raises the question of the character and attitude of the correspondent, because the same qualities of mind which in the past separated a Conrad from a Livingstone, or a Gainsborough from the anonymous painter of Francis Williams, are still present and active in the world today. Perhaps this difference can best be put in one phrase: the presence or absence of respect for the human person.

All my life I’ve pursued the perfect red. I can never get painters to mix it for me. It’s exactly as if I’d said, “I want Rococo with a spot of Gothic in it and a bit of Buddhist temple” – they have no idea what I’m talking about. About the best red is to copy the color of a child’s cap in any Renaissance portrait.

Here, as so often, the best defense is a good offense. If you can develop technology that’s simply too hard for competitors to duplicate, you don’t need to rely on other defenses. Start by picking a hard problem, and then at every decision point, take the harder choice.

Exactly, I repeated myself. I believe we do it all the time. We always take up certain elements again. How can it be avoided? An actor’s voice always has the same timbre and, consequently, he repeats himself. It is the same for a singer, a painter…There are always certain things that come back, for they are part of one’s personality, of one’s style. If these things didn’t come into play, a personality would be so complex that it would become impossible to identify it. It is not my intention to repeat myself, but in my work there should certainly be references to what I have done in the past. Say what you will, but The Trial is the best film I ever made…I have never been so happy as when I made this film. (talking about directing, The Trial (1962) - from Orson Welles: Interviews (book))

The difference between design and research seems to be a question of new versus good. Design doesn't have to be new, but it has to be good. Research doesn't have to be good, but it has to be new. I think these two paths converge at the top: the best design surpasses its predecessors by using new ideas, and the best research solves problems that are not only new, but worth solving. So ultimately design and research are aiming for the same destination, just approaching it from different directions.

And I think I regret all of it. I miss your clothes and curly hair. You look best when you’re you.

God, how I wish I could relive the whole thing. Short of that, I'd like to share the experience, the ups and downs, so some young man or woman, somewhere, going through the same trials and ordeals, might be inspired or comforted. Or warned. Some young entrepreneur, maybe, some athlete or painter or novelist, might press on. It's all the same drive. The same dream. It would be nice to help them avoid the typical discouragements. I'd tell them to hit pause, think long and hard about how they want to spend their time, and with whom they want to spend it for the next forty years. I'd tell men and women in their midtwenties not to settle for a job or a profession or even a career. Seek a calling. Even if you don't know what that means, seek it. If you're following your calling, the fatigue will be easier to bear, the disappointments will be fuel, the highs will be like nothing you've ever felt. I'd like to warn the best of them, the iconoclasts, the innovators, the rebels, that they will always have a bull's-eye on their backs. The better they get, the bigger the bull's-eye. It's not one man's opinion; it's a law of nature.

there are places in the world where real life is still happening, far away from here, in a pre-Hitler Europe, where hundreds of lights are lit every evening, ladies and gentlemen gather to drink coffee with cream in oak-panelled rooms, or sit comfortably in splendid coffee-houses under gilt chandeliers, stroll arm in arm to the opera or the ballet, observe from close-up the lives of great artists, passionate love affairs, broken hearts, the painter’s girlfriend falling in love with his best friend the composer, and going out at midnight bareheaded in the rain to stand alone on the ancient bridge whose reflection trembles in the river. *

A great programmer, on a roll, could create a million dollars worth of wealth in a couple weeks. A mediocre programmer over the same period will generate zero or even neg- ative wealth (e.g. by introducing bugs). This is why so many of the best programmers are libertarians.

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.

The memory of human blood manifests now as a kind of visceral reaction to seeing people's veins and their necks. The skin on a neck appears to me as different from the skin anywhere else on a body. It seems as thin and consumable as rice paper wrapped around a sweet. It is too blank compared with skin everywhere else, as though it is asking to have marks made on it, like very expensive calligraphy paper, or cold-pressed Fabriano. Often, I wonder whether the urge I have to make art is the same as the urge to consume and destroy the blankness of a human neck. While at art college, I read that the best paper used by artists in the seventeenth century was made from the skins of lamb fetuses. This skin was soft and absorbent, and had an even texture right across its surface. For a long time, the process of creating art has been linked to the killing of living things. My dad, even, used fine silk stretched across wooden frames in his own work as a painter. Once, when we still had some of his pieces, I looked at the odd geometric shapes he created on a huge sheet and thought about all the silkworms who had had their cocoons torn open before they were able to become moths.

This is why so many of the best programmers are libertarians. In our world, you sink or swim, and there are no excuses. When those far removed from the creation of wealth — undergraduates, reporters, politicians — hear that the richest 5% of the people have half the total wealth, they tend to think injustice! An experienced programmer would be more likely to think is that all? The top 5% of programmers probably write 99% of the good software.

as the eye is the best composer, so light is the first of painters. There is no object so foul that intense light will not make beautiful. And the stimulus it affords to the sense, and a sort of infinitude which it hath, like space and time, make all matter gay. Even the corpse has its own beauty.

Watching the painter painting And all the time, the light is changing And he keeps painting That bit there, it was an accident But he's so pleased It's the best mistake, he could make And it's my favourite piece It's just great --- excerpt from the song "An Architect's Dream" from the album Aerial

There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of ever more horrible shapes. And the more nervous they are—the quicker to take fright—the more violent they pray that every storm will be . . . Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms—they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning; they did their best to depict these monsters just as they appeared.

...the one who best understands the significance of light is not the electrician, not the painter, not the photographer, but the man who has lost his sight in adulthood.

But I know I can’t be a surgeon, or a CEO, or a world-famous painter with exhibits around the globe, or anything that interferes with my duties as a wife and mother.

Contrary to what everyone had once assumed, the star wasn’t merely a spot of light in the sky. Telescopes revealed it was a planet. Occupied, according to their best guess, by other people. A place whose light somehow cut through the shroud.

Older and shorter, Henry Grey was a painter who lived in the West Village. When Eve asked what was the best word to describe him, after thinking a moment Tinker settled on unwavering—because his brother had always who he was and what he wanted to do.

Baseball was an art, but to excel at it you had to become a machine. It didn't matter how beautifully you performed _sometimes_, what you did on your best day, how many spectacular plays you made. You weren't a painter or a writer--you didn't work in private and discard your mistakes, and it wasn't just your masterpieces that counted. What mattered, as for any machine, was repeatability. Moments of inspiration were nothing compared to elimination of error. The scouts cared little for Henry's superhuman grace; insofar as they cared they were suckered-in aesthetes and shitty scouts. Can you perform on demand, like a car, a furnace, a gun? Can you make that throw one hundred times out of a hundred? If it can't be a hundred, it had better be ninety-nine.

They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer. He had a distinctive style, shooting semi-starved, semi-naked women in strange, unflattering angles. Since his death, the price of his photographs has increased astronomically. I find his stuff rather slick and shallow, to be honest. It has none of the visceral quality of Alicia’s best work. I don’t know enough about art to say whether Alicia Berenson will stand the test of time as a painter. Her talent will always be overshadowed by her notoriety, so it’s hard to be objective. And you might well accuse me of being biased. All I can offer is my opinion, for what it’s worth. And to me, Alicia was a kind of genius. Apart from her technical skill, her paintings have an uncanny ability to grab your attention—by the throat, almost—and hold it in a viselike grip

In almost any group of people you’ll find hierarchy. When groups of adults form in the real world, it’s generally for some common purpose, and the leaders end up being those who are best at it. The problem with most schools is, they have no purpose. But hierarchy there must be. And so the kids make one out of nothing.

When Nature made her chief work, Stella’s eyes, In colour black why wrapp’d she beams so bright? Would she in beamy black, like painter wise, Frame daintiest lustre, mix’d of shades and light? Or did she else that sober hue devise, In object best to knit and strength our sight, Lest if no veil those brave gleams did disguise, They sun-like should more dazzle than delight? Or would she her miraculous power show, That whereas black seems Beauty’s contrary, She even in black doth make all beauties flow? Both so and thus, she minding Love should be Placed ever there, gave him this mourning weed, To honour all their deaths, who for her bleed.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

Some writers, even some poets, become famous public figures, but writers as such have no social status, in the way that doctors and lawyers, whether famous or obscure, have. There are two reasons for this. Firstly, the so-called fine arts have lost the social utility they once had. Since the invention of printing and the spread of literacy, verse no longer has a utility value as a mnemonic, a devise by which knowledge and culture were handed on from one generation to the next, and, since the invention of the camera, the draughtsman and painter are no longer needed to provide visual documentation; they have, consequently, become “pure” arts, that is to say, gratuitous activities. Secondly, in a society governed by the values appropriate to Labor (capitalist America may well be more completely governed by these than communist Russia) the gratuitous is no longer regarded – most earlier cultures thought differently – as sacred, because, to Man the Laborer, leisure is not sacred but a respite from laboring, a time for relaxation and the pleasures of consumption. In so far such a society thinks about the gratuitous at all, it is suspicious of it – artists do not labor, therefore, they are probably parasitic idlers – or, at best, regards it as trivial – to write poetry or paint pictures is a harmless private hobby.

My point is, it’s clear to me that any great artist—musician, painter, sculptor, a fine prose stylist—is on a subconscious level a mathematician and a carpenter and a mason and an engineer. A great artist intuitively understands how the world is built and how it works and how people best fit into it. That’s how they’re able to create beauty—because they know the truth of things. An artist is a mathematician who knows the formulas of the soul. ‘Beauty is truth, truth beauty.

And if I am not mistaken here is the secret of the greatness that was Spain. In Spain it is men that are the poems, the pictures and the buildings. Men are its philosophies. They lived, these Spaniards of the Golden Age; they felt and did; they did not think. Life was what they sought and found, life in its turmoil, its fervour and its variety. Passion was the seed that brought them forth and passion was the flower they bore. But passion alone cannot give rise to a great art. In the arts the Spaniards invented nothing. They did little in any of those they practised, but give a local colour to a virtuosity they borrowed from abroad. Their literature, as I have ventured to remark, was not of the highest rank; they were taught to paint by foreign masters, but, inapt pupils, gave birth to one painter only of the very first class; they owed their architecture to the Moors, the French and the Italians, and the works themselves produced were best when they departed least from their patterns. Their preeminence was great, but it lay in another direction: it was a preeminence of character. In this I think they have been surpassed by none and equalled only by the ancient Romans. It looks as though all the energy, all the originality, of this vigorous race had been disposed to one end and one end only, the creation of man. It is not in art that they excelled, they excelled in what is greater than art--in man. But it is thought that has the last word.

visual artist. My point is, it’s clear to me that any great artist—musician, painter, sculptor, a fine prose stylist—is on a subconscious level a mathematician and a carpenter and a mason and an engineer. A great artist intuitively understands how the world is built and how it works and how people best fit into it. That’s how they’re able to create beauty—because they know the truth of things. An artist is a mathematician who knows the formulas of the soul. ‘Beauty is truth, truth beauty.

Funny how you never hear novelists or painters say they work in the 'creative industries', but only squalid little advertising people. How could this be? (.....) If you listen to advertisers, you'd think they're the fucking Oracle and that for a fee they'll slip you the Answer. They are obsessed with being seen as 'creative', but what they do seems rather to be 'parasitical' : pinching cultural innovations and using them to persuade people that they want stuff. So there's a dilemma for us all to think 'creatively' about.

Rich men spent small fortunes in engaging artists to make the most beautiful books ever known. A corps of papermakers, calligraphers, painters, and bookbinders in some cases worked for seventeen years on one volume. Paper had to be of the best; brushes were put together, we are told, from the white neck hairs of kittens not more than two years old; blue ink was sometimes made from powdered lapis lazuli, and could be worth its weight in gold; and liquid gold was not thought too precious for some lines or letters of design or text.

In those days, long before, a view over the rooftops of Paris was an unaffordable luxury. The apartment he had shared with a mousy young writer from Laon had a view of the Jardin de Luxembourg – if he stuck his head out of the window as far as it would go and twisted it to the left, a smudge of green foliage appeared in the corner of one eye. That had been his best apartment to date. They had decorated it in the ‘Bohemian’ style of the 1830s : a few volumes of Shakespeare and Victor Hugo, a Phrygian cap, an Algerian hookah, a skull on a broomstick handle (from the brother of a friend, Charles Toubin, who was an intern at one of the big hospitals) and, of course, a window box of geraniums, which was not only pretty but also illegal. (Death by falling window box was always high up the official list of fatalities.) For a proper view of Paris, they visited Henry’s painter friends who lived in a warren of attic rooms near the Barriere d’Enfer and called themselves the Water-Drinkers. When the weather was fine and the smell of their own squalor became unbearable, they clambered onto the roof and sat on the gutters and ridges, sketching chimneyscapes, and sending up more smoke from their pipes than the fireplaces below. Three of the Water-Drinkers had since died of various illnesses known collectively as ‘lack of money’. When the last of the three was buried, in the spring of 1844, Henry and the others had found themselves at the graveside without a sou to give a gravedigger. ‘Never mind’, said he, “you can pay me the next time, ‘ and then, to his collegue : ‘It’s all right – these gentlemen are a regular customers.

The fisherman-painter has the best of the bargain as far as the weather goes, for the weather that is too bright for the trout deluges his hills and his sea with floods of radiant colour; the rain that interrupts picture-making puts water into the rivers and the lochs and sends him hopefully forth with rod and creel; while on cold dull days, when there is neither purple on the hills nor fly on the river, he can join a friendly party in a cosy bar and exchange information about Cardinals and March Browns, and practise making intricate knots in gut.

Painting, you express it more broadly, more childlike. Here’s the basic thing: like all that a painter—a painter at best because of their juvenile qualities. The reason painters live, I think, to be quite old is because they’re children, maybe more than any of the arts, that never grew up, never put their crayons away. And the painting at best is supposed to rejuvenate a person. It’s the work of a juvenile, perennial juvenile, intended to rejuvenate. You should get a wonderful “Oooh!” It should make you want to get out your crayons, a good painting, more than anything else.

This is the kind of possibility that the pointy-haired boss doesn’t even want to think about. And so most of them don’t. Because, you know, when it comes down to it, the pointy-haired boss doesn’t mind if his company gets their ass kicked, so long as no one can prove it’s his fault. The safest plan for him personally is to stick close to the center of the herd. Within large organizations, the phrase used to describe this approach is “industry best practice.” Its purpose is to shield the pointy-haired boss from responsibility: if he chooses something that is “industry best practice,” and the company loses, he can’t be blamed. He didn’t choose, the industry did.

The next year, Samuel F. B. Morse, a young man of many talents, best known as a painter, published a virulent treatise called Imminent Dangers to the Free Institutions of the United States through Foreign Immigration, urging the passage of a new immigration law banning all foreign-born Americans from voting.53 Morse then ran for mayor of New York (and lost). Meanwhile, he began devising a secret code of dots and dashes, to be used on the telegraph machine he was designing. He believed there existed a Catholic plot to take over the United States. He believed that, to defeat such a plot, the U.S. government needed a secret cipher. Eventually, he decided that a better use of his

There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of even more horrible shapes. And the more nervous they are—the quicker to take fright—the more violent they pray that every storm will be... Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms—they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning: they did their best to depict these monsters just as they had appeared. Takeuchi was right: they had dared to paint pictures of devils. These, I thought, would be my friends in the future. I was so excited I could have wept.

There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of ever more horrible shapes. And the more nervous they are—the quicker to take fright—the more violent they pray that every storm will be . . . Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms—they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning; they did their best to depict these monsters just as they had appeared. Takeichi was right: they had dared to paint pictures of devils. These, I thought, would be my friends in the future. I was so excited I could have wept.

There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of ever more horrible shapes. And the more nervous they are —the quicker to take fright—the more violent they pray that every storm will be . . . Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms—they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning; they did their best to depict these monsters just as they had appeared. Takeuchi was right: they had dared to paint pictures of devils. These, I thought, would be my friends in the future. I was so excited I could have wept.

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

Let us suppose that this ounce of mud is left in perfect rest, and that its elements gather together, like to like, so that their atoms may get into the closest relations possible. Let the clay begin. Ridding itself of all foreign substance, it gradually becomes a white earth, already very beautiful; and fit, with help of congealing fire, to be made into finest porcelain, and painted on, and be kept in kings’ palaces. But such artificial consistence is not its best. Leave it still quiet to follow its own instinct of unity, and it becomes not only white, but clear; not only clear, but hard; not only clear and hard, but so set that it can deal with light in a wonderful way, and gather out of it the loveliest blue rays only, refusing the rest. We call it then a sapphire. Such being the consummation of the clay, we give similar permission of quiet to the sand. It also becomes, first, a white earth, then proceeds to grow clear and hard, and at last arranges itself in mysterious, infinitely fine, parallel lines, which have the power of reflecting not merely the blue rays, but the blue, green, purple, and red rays in the greatest beauty in which they can be seen through any hard material whatsoever. We call it then an opal. In next order the soot sets to work; it cannot make itself white at first, but instead of being discouraged, tries harder and harder, and comes out clear at last, and the hardest thing in the world; and for the blackness that it had, obtains in exchange the power of reflecting all the rays of the sun at once in the vividest blaze that any solid thing can shoot. We call it then a diamond. Last of all the water purifies or unites itself, contented enough if it only reach the form of a dew-drop; but if we insist on its proceeding to a more perfect consistence, it crystallizes into the shape of a star. And for the ounce of slime which we had by political economy of competition, we have by political economy of co-operation, a sapphire, an opal, and a diamond, set in the midst of a star of snow.

The ability to draw a connection between two things that had previously appeared to be unrelated is an important part of creativity, and it appears that it can be enhanced by electrical stimulation. Compared to participants who were given fake tDCS, those who got electricity created more unusual analogies—that is, analogies between things that seemed very unlike one another. Nevertheless, these highly creative analogies were just as accurate as the more obvious ones created by the participants whose devices were secretly turned off. Dopaminergic drugs can do the same thing. Although some patients who take dopaminergic drugs for Parkinson’s disease develop devastating compulsions, others experience enhanced creativity. One patient who came from a family of poets had never done any creative writing. After starting dopamine-boosting drugs for his Parkinson’s disease, he wrote a poem that won the annual contest of the International Association of Poets. Painters treated with Parkinson’s medication often increase their use of vivid color. One patient who developed a new style after being treated said, “The new style is less precise but more vibrant. I have a need to express myself more. I just let myself go.” Just like Winnie-the-Pooh: “It is the best way to write poetry, letting things come.

The 1890s were apprentice years for Yeats. Though he played with Indian and Irish mythology, his symbolism really developed later. The decade was for him, as a poet, the years of lyric, of the Rhymers’ Club, of those contemporaries whom he dubbed the ‘tragic generation’. ‘I have known twelve men who killed themselves,’ Arthur Symons looked back from his middle-aged madness, reflecting on the decade of which he was the doyen. The writers and artists of the period lived hectically and recklessly. Ernest Dowson (1867–1900) (one of the best lyricists of them all – ‘I cried for madder music and for stronger wine’) died from consumption at thirty-two; Lionel Johnson (1867–1902), a dipsomaniac, died aged thirty-five from a stroke. John Davidson committed suicide at fifty-two; Oscar Wilde, disgraced and broken by prison and exile, died at forty-six; Aubrey Beardsley died at twenty-six. This is not to mention the minor figures of the Nineties literary scene: William Theodore Peters, actor and poet, who starved to death in Paris; Hubert Crankanthorpe, who threw himself in the Thames; Henry Harland, editor of The Yellow Book, who died of consumption aged forty-three, or Francis Thompson, who fled the Hound of Heaven ‘down the nights and down the days’ and who died of the same disease aged forty-eight. Charles Conder (1868–1909), water-colourist and rococo fan-painter, died in an asylum aged forty-one.

It was in her abode, in the janitorial quarters assigned her on the ground floor rear, that seemingly inoffensive Mrs. Shapiro set up a clandestine alcohol dispensary—not a speakeasy, but a bootleg joint, where the Irish and other shikkers of the vicinity could come and have their pint bottles filled up, at a price. And several times on weekends, when Ira was there, for he got along best with Jake, felt closest to him, because Jake was artistic, some beefy Irishman would come in, hand over his empty pint bottle for refilling, and after greenbacks were passed, and the transaction completed, receive as a goodwill offering a pony of spirits on the house. And once again those wry (rye? Out vile pun!), wry memories of lost opportunities: Jake’s drab kitchen where the two sat talking about art, about Jake’s favorite painters, interrupted by a knock on the door, opened by Mr. Shapiro, and the customer entered. With the fewest possible words, perhaps no more than salutations, purpose understood, negotiations carried out like a mime show, or a ballet: ecstatic pas de deux with Mr. McNally and Mr. Shapiro—until suspended by Mr. Shapiro’s disappearance with an empty bottle, leaving Mr. McNally to solo in anticipation of a “Druidy drunk,” terminated by Mr. Shapiro’s reappearance with a full pint of booze. Another pas de deux of payment? Got it whole hog—Mr. Shapiro was arrested for bootlegging several times, paid several fines, but somehow, by bribery and cunning, managed to survive in the enterprise, until he had amassed enough wealth to buy a fine place in Bensonhurst by the time “Prohibition” was repealed. A Yiddisher kupf, no doubt.

Astonishment: these women’s military professions—medical assistant, sniper, machine gunner, commander of an antiaircraft gun, sapper—and now they are accountants, lab technicians, museum guides, teachers…Discrepancy of the roles—here and there. Their memories are as if not about themselves, but some other girls. Now they are surprised at themselves. Before my eyes history “humanizes” itself, becomes like ordinary life. Acquires a different lighting. I’ve happened upon extraordinary storytellers. There are pages in their lives that can rival the best pages of the classics. The person sees herself so clearly from above—from heaven, and from below—from the ground. Before her is the whole path—up and down—from angel to beast. Remembering is not a passionate or dispassionate retelling of a reality that is no more, but a new birth of the past, when time goes in reverse. Above all it is creativity. As they narrate, people create, they “write” their life. Sometimes they also “write up” or “rewrite.” Here you have to be vigilant. On your guard. At the same time pain melts and destroys any falsehood. The temperature is too high! Simple people—nurses, cooks, laundresses—behave more sincerely, I became convinced of that…They, how shall I put it exactly, draw the words out of themselves and not from newspapers and books they have read—not from others. But only from their own sufferings and experiences. The feelings and language of educated people, strange as it may be, are often more subject to the working of time. Its general encrypting. They are infected by secondary knowledge. By myths. Often I have to go for a long time, by various roundabout ways, in order to hear a story of a “woman’s,” not a “man’s” war: not about how we retreated, how we advanced, at which sector of the front…It takes not one meeting, but many sessions. Like a persistent portrait painter. I sit for a long time, sometimes a whole day, in an unknown house or apartment. We drink tea, try on the recently bought blouses, discuss hairstyles and recipes. Look at photos of the grandchildren together. And then…After a certain time, you never know when or why, suddenly comes this long-awaited moment, when the person departs from the canon—plaster and reinforced concrete, like our monuments—and goes on to herself. Into herself. Begins to remember not the war but her youth. A piece of her life…I must seize that moment. Not miss it! But often, after a long day, filled with words, facts, tears, only one phrase remains in my memory (but what a phrase!): “I was so young when I left for the front, I even grew during the war.” I keep it in my notebook, although I have dozens of yards of tape in my tape recorder. Four or five cassettes… What helps me? That we are used to living together. Communally. We are communal people. With us everything is in common—both happiness and tears. We know how to suffer and how to tell about our suffering. Suffering justifies our hard and ungainly life.

What are the great poetical names of the last hundred years or so? Coleridge, Wordsworth, Byron, Shelley, Landor, Keats, Tennyson, Browning, Arnold, Morris, Rossetti, Swinburne—we may stop there. Of these, all but Keats, Browning, Rossetti were University men, and of these three, Keats, who died young, cut off in his prime, was the only one not fairly well to do. It may seem a brutal thing to say, and it is a sad thing to say: but, as a matter of hard fact, the theory that poetical genius bloweth where it listeth, and equally in poor and rich, holds little truth. As a matter of hard fact, nine out of those twelve were University men: which means that somehow or other they procured the means to get the best education England can give. As a matter of hard fact, of the remaining three you know that Browning was well to do, and I challenge you that, if he had not been well to do, he would no more have attained to write Saul or The Ring and the Book than Ruskin would have attained to writing Modern Painters if his father had not dealt prosperously in business. Rossetti had a small private income; and, moreover, he painted. There remains but Keats; whom Atropos slew young, as she slew John Clare in a mad-house, and James Thomson by the laudanum he took to drug disappointment. These are dreadful facts, but let us face them. It is—however dishonouring to us as a nation—certain that, by some fault in our commonwealth, the poor poet has not in these days, nor has had for two hundred years, a dog’s chance. Believe me—and I have spent a great part of ten years in watching some three hundred and twenty elementary schools, we may prate of democracy, but actually, a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ (cit. The Art of Writing, Sir Arthur Quiller-Couch) Nobody could put the point more plainly. ‘The poor poet has not in these days, nor has had for two hundred years, a dog’s chance . . . a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ That is it. Intellectual freedom depends upon material things. Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time. Women have had less intellectual freedom than the sons of Athenian slaves. Women, then, have not had a dog’s chance of writing poetry. That is why I have laid so much stress on money and a room of one’s own. However, thanks to the toils of those obscure women in the past, of whom I wish we knew more, thanks, curiously enough to two wars, the Crimean which let Florence Nightingale out of her drawing-room, and the European War which opened the doors to the average woman some sixty years later, these evils are in the way to be bettered. Otherwise you would not be here tonight, and your chance of earning five hundred pounds a year, precarious as I am afraid that it still is, would be minute in the extreme.

To paint after nature is to transfer three-dimensional corporeality to a two-dimensional surface. This you can do if you are in good health and not colorblind. Oil paint, canvas, and brush are material and tools. It is possible by expedient distribution of oil paint on canvas to copy natural impressions; under favorable conditions you can do it so accurately that the picture cannot be distinguished from the model. You start, let us say, with a white canvas primed for oil painting and sketch in with charcoal the most discernible lines of the natural form you have chosen. Only the first line may be drawn more or less arbitrarily, all the others must form with the first the angle prescribed by the natural model. By constant comparison of the sketch with the model, the lines can be so adjusted that the lines of the sketch will correspond to those of the model. Lines are now drawn by feeling, the accuracy of the feeling is checked and measured by comparison of the estimated angle of the line with the perpendicular in nature and in the sketch. Then, according to the apparent proportions between the parts of the model, you sketch in the proportions between parts on the canvas, preferably by means of broken lines delimiting these parts. The size of the first part is arbitrary, unless your plan is to represent a part, such as the head, in 'life size.' In that case you measure with a compass an imaginary line running parallel to a plane on the natural object conceived as a plane on the picture, and use this measurement in representing the first part. You adjust all the remaining parts to the first through feeling, according to the corresponding parts of the model, and check your feeling by measurement; to do this, you place the picture so far away form you that the first part appears as large in the painting as the model, and then you compare. In order to check a given proportion, you hold out the handle of your paintbrush at arm's length towards this proportion in such a way that the end of the thumbnail on the handle coincides with the other end of the proportion. If then you hold the paintbrush out towards the picture, again at arm's length, you can, by the measurement thus obtained, determine with photographic accuracy whether your feeling has deceived you. If the sketch is correct, you fill in the parts of the picture with color, according to nature. The most expedient method is to begin with a clearly recognizable color of large area, perhaps with a somewhat broken blue. You estimate the degree of matness and break the luminosity with a complimentary color, ultramarine, for example, with light ochre. By addition of white you can make the color light, by addition of black dark. All this can be learned. The best way of checking for accuracy is to place the picture directly beside the projected picture surface in nature, return to your old place and compare the color in your picture with the natural color. By breaking those tones that are too bright and adding those that are still lacking, you will achieve a color tonality as close as possible to that in nature. If one tone is correct, you can put the picture back in its place and adjust the other colors to the first by feeling. You can check your feeling by comparing every tone directly with nature, after setting the picture back beside the model. If you have patience and adjust all large and small lines, all forms and color tones according to nature, you will have an exact reproduction of nature. This can be learned. This can be taught. And in addition, you can avoid making too many mistakes in 'feeling' by studying nature itself through anatomy and perspective and your medium through color theory. That is academy.

No matter what philosophical standpoint people may adopt nowadays, from every point of view the falsity of the world in which we think we live is the most certain and firmest thing which our eyes are still capable of apprehending: - for that we find reason after reason, which would like to entice us into conjectures about a fraudulent principle in the "essence of things." But anyone who makes our very thinking, that is, "the spirit," responsible for the falsity of the world - an honourable solution which every conscious or unconscious advocatus dei [pleader for god] uses -: whoever takes this world, together with space, time, form, and movement as a false inference, such a person would at least have good ground finally to learn to be distrustful of all thinking itself. Wouldn’t it be the case that thinking has played the greatest of all tricks on us up to this point? And what guarantee would there be that thinking would not continue to do what it has always done? In all seriousness: the innocence of thinkers has something touching, something inspiring reverence, which permits them even today still to present themselves before consciousness with the request that it give them honest answers: for example, to the question whether it is "real," and why it really keeps itself so absolutely separate from the outer world, and similar sorts of questions. The belief in "immediate certainties" is a moral naivete which brings honour to us philosophers - but we should not be "merely moral" men! Setting aside morality, this belief is a stupidity, which brings us little honour! It may be the case that in bourgeois life the constant willingness to suspect is considered a sign of a "bad character" and thus belongs among those things thought unwise. Here among us, beyond the bourgeois world and its affirmations and denials - what is there to stop us from being unwise and saying the philosopher has an absolute right to a "bad character," as the being who up to this point on earth has always been fooled the best - today he has the duty to be suspicious, to glance around maliciously from every depth of suspicion. Forgive me the joke of this gloomy grimace and way of expressing myself. For a long time ago I myself learned to think very differently about and make different evaluations of deceiving and being deceived, and I keep ready at least a couple of digs in the ribs for the blind anger with which philosophers themselves resist being deceived. Why not? It is nothing more than a moral prejudice that truth is worth more than appearance. That claim is even the most poorly demonstrated assumption there is in the world. People should at least concede this much: there would be no life at all if not on the basis of appearances and assessments from perspectives. And if people, with the virtuous enthusiasm and foolishness of some philosophers, wanted to do away entirely with the "apparent world," assuming, of course, you could do that, well then at least nothing would remain any more of your "truth" either! In fact, what compels us generally to the assumption that there is an essential opposition between "true" and "false"? Is it not enough to assume degrees of appearance and, as it were, lighter and darker shadows and tones for the way things appear - different valeurs [values], to use the language of painters? Why could the world about which we have some concern - not be a fiction? And if someone then asks "But doesn’t an author belong to a fiction?" could he not be fully answered with Why? Doesn’t this "belong to" perhaps belong to the fiction? Is it then forbidden to be a little ironic about the subject as well as about the predicate and the object? Is the philosopher not permitted to rise above a faith in grammar? All due respect to governesses, but might it not be time for philosophy to renounce faith in governesses?-

I had painted a lot of landscapes, had stood before many while they burned their remote beauty into my skin, but had never done both at the same time. Don’t know why. I was comfortable painting indoors and I liked best to retrieve those images from memory where they might be stained by awe and jumbled together with other things I loved. Now that I had tried the other, I wanted to do more.

Indeed, Artisan battle leaders are no different from Artisan painters, pilots, or point guards: they are always scanning for opportunities, always looking for the best angle of approach,

disparity between Louie and Woody is most pronounced. In Woody Allen comedies, the Woody protagonist or surrogate takes it upon himself to tutor the young women in his wayward orbit and furnish their cultural education, telling them which books to read (in Annie Hall’s bookstore scene, Allen’s Alvy wants Annie to occupy her mind with Death and Western Thought and The Denial of Death—“You know, instead of that cat book”), which classic films to imbibe at the revival houses back when Manhattan still had a rich cluster of them. In Crimes and Misdemeanors, it’s a 14-year-old female niece who dresses like a junior-miss version of Annie Hall whom Woody’s Clifford squires to afternoon showings at the finer flea pits, advising her to play deaf for the remaining years of her formal schooling. “Don’t listen to what your teachers tell ya, you know. Don’t pay attention. Just, just see what they look like, and that’s how you’ll know what life is really gonna be like.” A more dubious nugget of avuncular wisdom would be hard to imagine, and it isn’t just the Woody stand-in who does the uncle-daddy-mentor-knows-best bit for the benefit of receptive minds in ripe containers. In Hannah and Her Sisters, Max von Sydow’s dour painter-philosophe Frederick is the Old World “mansplainer” of all time, holding court in a SoHo loft which he shares with his lover, Lee, played by Barbara Hershey, whose sweaters abound with abundance. When Lee groans with enough-already exasperation when Frederick begins droning on about an Auschwitz documentary—“You missed a very dull TV show on Auschwitz.

The trout fisher, like the landscape painter, haunts the loveliest places of the earth, and haunts them alone. Solitude and his own thoughts—he must be on the best terms with all of these; and he who can take kindly the largest allowance of these is likely to be the kindliest and truest with his fellow men.

This is the same establishment that all those who want, or rather aspire to, to be literary figures of the century, artists, painters and sculptors want acceptance from and approval. They want to be looked up to. Young and upcoming poets must approach their craft with an almost angelic perspective. So many writers are missing a condensed fusion in their writing, they condescend to their audience, the truth is not spoken in their work, they gabble, their words seem to make a hot fuss on the page. What do they gain? They gain this, simply nothing. Poets must assemble and present their work accordingly to how they see fit and should be careful of advice from other writers and editors. Sometimes there can be too much going on in the words that are meant to be given with the best of intentions.

Kl-interiors.co.uk is one of the best names in the painting and decorating industry in London who also possess knowledge about the latest trends in the market related to painting and decorating.

Sound is the one true vocabulary of nature and not the peacock-palette painters swear he uses for his best stuff, for his daily disposable frescoes ["Sound," Poetry, September 2015].

You rest now. Rest for longer than you are used to resting. Make a stillness around you, a field of peace. Your best work, the best time of your life will grow out of this peace. And don’t worry, compa, you will be rowdy and out of control again. You will throw off every kind of light. You can’t help yourself.

And these words that I command you today shall be on your heart. (Deuteronomy 6) Our children become less important than our workers. We admonish our workers for our own financial benefit, but our children receive no instruction or correction, in effect being regarded as less valuable than our workers. But why even compare our children with other humans? We take better care of our cattle and horses than our children. Those who own a mule make sure to find the best driver for it, not some idiot who is a dishonest and inexperienced drunk. But if our child needs a teacher, we take the first person who comes along, haphazardly and without consideration. Yet no profession is more important than teaching. For what even remotely compares with guiding the soul and forming the mind and character of a young person? A teacher should be more skilled than a painter, and certainly more virtuous. But we completely neglect this. The one thing that matters to us is that our child learns to speak well — and just for the sake of money! In fact, if a person could become wealthy without being able to speak at all, we would not bother with our language lessons. Money exercises a tyranny over the world! It invades all of life and forces people to go where it chooses, like slaves. We make verbal attacks against it, but it defeats us by the sheer force of events. Nevertheless, I will not stop attacking it with my mouth, and if I achieve anything, you and I will both be better off. John Chrysostom

Painting is the science of the mind, where we create something new from confusion and present beauties with colors, Poetry is the best form of painting mostly overlooked, and the mind's painters uses coruscations of brilliancy to present different images by words

Chase became a critically acclaimed portrait painter and the most highly paid Asian artist of his generation. Jenny Shimizu became a model and one of the planet’s best-known lesbians (“a homo-household name,” as The Pink Paper declared) for her affairs with Madonna and Angelina Jolie (a career trajectory that, despite the tattoo on Jenny’s right biceps of a hot babe straddling a Snap-on tool, Ted never saw coming).

A great programmer, on a roll, could create a million dollars worth of wealth in a couple weeks. A mediocre programmer over the same period will generate zero or even negative wealth (e.g. by introducing bugs). This is why so many of the best programmers are libertarians. In our world, you sink or swim, and there are no excuses.

But it was not till the Industrial Revolution that wealth creation definitively replaced corruption as the best way to get rich. In England, at least, corruption only became unfashionable (and in fact only started to be called “corruption”) when there started to be other, faster ways to get rich.

The Press in 1914 had no Cinema, no Radio, and no Politics: so the painter could really become a 'star'. There was nothing against it. Anybody could become one, who did anything funny. And Vorticism was replete with humour, of course; it was acclaimed the best joke ever. Pictures, I mean oil-paintings, were 'news'. Exhibitions were reviewed in column after column. And no illustrated paper worth its salt but carried a photograph of some picture of mine or of my 'school', as I have said, or one of myself, smiling insinuatingly from its pages.

it was not till the Industrial Revolution that wealth creation definitively replaced corruption as the best way to get rich.

Perfect DryWall Contractor Brian Erik Jamison If you want to stay away from any hassles in your painting project, make sure you hire the best paint contractor that you come across. If you are from Portland Oregon, you can consider Brian Erik Jamison as a suitable paint contractor for your wall painting project.

Take Baselitz, a German, and, by all accounts, one of the best of the new tendency painters. His work is inept: expressionistic though not expressionist, he has made a mannerism and a great deal of money by prostituting an indigenous German tradition. Baselitz’s painting lacks even an echo of authentic experience, let alone achieved technical skill, or ‘working-through’ of expressively original forms. Inflated in scale and price, overweening, ugly, bombastic, vapid, loose, and awash with the sentimentality of borrowed angst, Baselitz paints a sort of seamless Misery Me Gift-Wrap. He suffers from some stultifying occlusion of the imagination, lacks touch and sensitivity as a draughtsman, and possesses none but the most degraded ‘studio’ colour sense. He gives the impression that he has neither looked at the world nor within himself. Indeed his works are so drab and lacking in any painterly confidence that, despite their enormous size, one would hardly notice them unless they were hung upside down – which many of them are.

beautiful things don’t always make the best subjects for papers. Number one, research must be original — and as anyone who has written a PhD dissertation knows, the way to be sure you’re exploring virgin territory is to stake out a piece of ground that no one wants. Number two, research must be substantial — and awkward systems yield meatier papers, because you can write about the obstacles you have to overcome in order to get things done. Nothing yields meaty problems like starting with the wrong assumptions.

Daniel Mas Masumoto: The blade slices into the soil. My muscles tense and push the shovel into the moist ground. Dark and damp, the sweet warm smell of wet earth…I can’t count the thousands of shovelfuls of earth I have moved in my life. But I like to think of the thousands that lie in my future, if I am fortunate. Spring irrigation brings life to the orchards and vineyards. Peaches ripen and the scent of bloom lingers in the air…I guide the water into my fields in an act of renewal, I think of Paul, a farmer and oil painter friend. He enjoys experimenting with green, capturing the subtle nuances of a fresh leaf or the thriving growth of mid-spring or the weak yellow green of a cover crop on bad soil… Paul knows his paintings work when the farmers gravitate toward a few, attracted by the colors, and begin talking about his greens. The true green of a field has depth, like the mysterious colors of a clear by deep lake. Each shade has meaning we interpret differently. Paul says farmers are his best art critics, we know more of greens than anyone else. I’ve lost raisin crops, peach harvests, whole trees and vines. I’ve lost money, my time, and my labor. I’ve lost my temper, my patience, and, at time, hope. Most of the time, it’s due to things beyond my control, like the weather, market prices, or insects or disease. Ironically, the moment I step off my farm I enter a world where it seems that everything, life and nature, is regulated and managed. Homes are built to insulate families from the outside weather. People work in climate controlled environments designed to minimize the impact of weather. In America, a lack of control means failure…I’ve abandoned my attempts to control and compete with nature, but letting go has been a challenge. I’m trying to listen to my farm. Before I had not reason to hear the sounds of nature. The sole strategy of conventional farming seems to be dominance. Now, with each passing week, I venture into fields full of life and change, clinging to a belief in my work and a hope that it’s working.

Read a lot. Write a lot. Read a lot. Write a lot. Be you. Figure out who you are and then put up a flag. Keep being you. Find a way to be uniquely you on the page. Write. Don't try to write like anyone else. Beware of those who offer very specific rules. Beware the herds. Be kind. Say thank you. Remember that it's the work that makes you a writer, not your opinions. Submit your work. Repeat for decades if necessary. If interested people show up, be very nice to them! Over a breakfast beer, the Peruvian painter, Francisco Grippa, gave me the best advice I've ever received: "Be a professional, not an asshole." Everyone who will ever consider working with you will Google you first, so be a professional on the Internet too. Create, don't destroy. I try to find the good in every story I encounter. I never write negative reviews of other novels written by my fellow writers. There is a place for criticism, but I am a writer and not a critic. Be a fiction writer. And whatever you do, choose your life partner carefully. Alicia is definitely the reason I've made it this far. Once more, be kind

Get a large tarp, at least 16 × 16-feet, and open it near your garden where you have all your boxes built and located. Make sure you have them in their final resting place—check with the boss one more time and ask, “Are you sure this is where you want all the boxes, dear?” All of the three ingredients are dusty when dry, so do this when there is no wind. Don’t do it in the garage, or you’ll get dust all over your nice new car or workshop. Wear a painter’s mask and have a hose ready with a very fine spray. Don’t forget to have a few mixing tools ready like a snow shovel, a hoe, or a steel rake. Count out the bags and boxes, do the math one more time and start opening the bags and pouring the contents out on the tarp without walking on the ingredients. Roughly mix the three ingredients as best you can as you pour it. Then drag two corners of the tarp to the opposite two corners. You’ll see the material roll over, mixing itself. When you’ve pulled the tarp so that the mixture is almost to the edge, move 90 degrees and pull those two corners over. You just work your way around the tarp and repeat pulling corners together until your Mel’s Mix is uniformly mixed. It’s finished when you don’t see any single material or one color. Use the hose with a fine mist or spray to wet down any dust, but don’t spray so much you make puddles or wet the ingredients so the mixture becomes too heavy to move easily. Don’t let the kids play in the mixture, or they will crush the large particles of vermiculite. (By the way, I’d save a small plastic bag of vermiculite for seed starting. We’ll get to seed starting in the next chapter.) The next step is to fill the boxes, wetting down the mixed-in layers only as you fill it. Once the box is full and the top leveled off, don’t pack it down. It will settle just right by itself.

Are [the arts and the sciences] really as distinct as we seem to assume? [...] Most universities will have distinct faculties of arts and sciences, for instance. But the division clearly has some artificiality. Suppose one assumed, for example, that the arts were about creativity while the sciences were about a rigorous application of technique and methods. This would be an oversimplification because all disciplines need both. The best science requires creative thinking. Someone has to see a problem, form a hypothesis about a solution, and then figure out how to test that hypothesis and implement its findings. That all requires creative thinking, which is often called innovation. The very best scientists display creative genius equal to any artist. [...] And let us also consider our artists. Creativity alone fails to deliver us anything of worth. A musician or painter must also learn a technique, sometimes as rigorous and precise as found in any science, in order that they can turn their thoughts into a work. They must attain mastery over their medium. Even a writer works within the rules of grammar to produce beauty. [...] The logical positivists, who were reconstructing David Hume’s general approach, looked at verifiability as the mark of science. But most of science cannot be verified. It mainly consists of theories that we retain as long as they work but which are often rejected. Science is theoretical rather than proven. Having seen this, Karl Popper proposed falsifiability as the criterion of science. While we cannot prove theories true, he argued, we can at least prove that some are false and this is what demonstrates the superiority of science. The rest is nonsense on his account. The same problems afflict Popper’s account, however. It is just as hard to prove a theory false as it is to prove one true. I am also in sympathy with the early Wittgenstein of the Tractatus Logico-Philosophicus who says that far from being nonsense, the non-sciences are often the most meaningful things in our lives. I am not sure the relationship to truth is really what divides the arts and sciences. [...] The sciences get us what we want. They have plenty of extrinsic value. Medicine enables us to cure illness, for instance, and physics enables us to develop technology. I do not think, in contrast, that we pursue the arts for what they get us. They are usually ends in themselves. But I said this was only a vague distinction. Our greatest scientists are not merely looking to fix practical problems. Newton, Einstein and Darwin seemed primarily to be seeking understanding of the world for its own sake, motivated primarily by a sense of wonder. I would take this again as indicative of the arts and sciences not being as far apart as they are usually depicted. And nor do I see them as being opposed. The best in any field will have a mixture of creativity and discipline and to that extent the arts and sciences are complimentary.

Paul Graham is someone who tends to make bold statements about innovation and the economics of technology. He co-founded Y-Combinator and what would later become Yahoo! Store. As someone who studied painting and computer science, he writes from a unique perspective as is displayed in Hackers & Painters and his well-known essays. “How to Start a Startup” offered me a basic toolkit to grasp that people, great execution and understanding what the customer really wants, are more important than a brilliant idea. “Why Smart People Have Bad Ideas” let me know that although some founders can seem promising, they may have simply chosen the wrong problem to solve and it may be best to wait for their next new iteration—or business—entirely.

Plus she was pretty and had the kind of curvy figure that made a man weak and stupid in the best possible way.

Best selection of the most beautiful high-quality 5D diamond painting canvas. We've got kits for both beginners and advanced diamond painters. All canvases are full drill. You can select both square or round stones. Custom paintings are available at 50% Off for a limited time.

I yawned and eased Spider to the couch, then pushed to a sitting position while doing my best not to disturb him. Because, you know, he had that big presentation to give at the office in the morning and everything.

This was Wilde's way of closing the gap between art and life. In Europe, art had been stripped of its central role in religious ritual and public life. Most nineteenth-century churches were outfitted with nineteenth century paintings. But the best nineteenth-century painters had no interest in painting for churches. The modern painter was on his own. The illusions of art were exposed to be the pitiless reasonings of commerce and engineering. The artist, dependent on the historians and critics, the authors of immortality, could only hope that his works would find refuge, one day, in the museum. Wilde understands that it is the writers who patrol the frontier between art and life. He strikes back against modern naturalism or realism by arguing that reality itself is generated by a combinatory artistic creativity. Art colonizes life. If life itself is already a work of art, then the artist will never find himself on the outside of life.

Thus, generally, as painters, when they are painting from other pictures, constantly look at the model, and do their best to transfer its lineaments to their own work, so too, he who is desirous of rendering himself perfect in all branches of excellency, must keep his eyes turned to the lives of the Saints as though to living and moving statues, and make their virtue his own by imitation.”4

A painter paints pictures on canvas. But musicians paint their pictures on silence. Leopold Stokowski (1882 – 1977)

Mervyn Peake came to fame first as an artist. Before the Second World War he was considered to be one of the best portraitists in England, publishing wonderful studies of writers, actors, and painters.

The thought of Clara became a preoccupation, and with the love which at length he recongised there blended a sense of fate fulfilling itself. His enthusiasms, his purposes, never defined as education would have defined them, were dissipated into utter vagueness. He lost his guiding interests, and found himself returning to those of boyhood. The country once more attracted him; he took out of his old sketch-books, bought a new one, revived the regret that he could not be a painter of landscape. A visit to one or two picture-galleries, and then again profound discouragement, recognition of the fact that he was a mechanic and never could be anything else. It was the end of his illusions. For him not even passionate love was to preserve the power od idealising its object. He loved Clara with all the desire of his being, but could no longer deceive himself in judging her character. The same sad clearness of vision affected his judgement of the world about him, of the activities in which he had once been zealous, of the conditions which enveloped his life and the lives of those dear to him. The spirit of revolt often enough stirred within him, but no longer found utterance in the speech which brings no relief; he did his best to dispel the mood, mocking at it as folly. Consciously he set himself that task of becoming a practical man, of learning to make the best of life as he found it, of shunning as the fatal error that habit of mind which kept John Hewett on the rack. Who was he that he should look for pleasant things in his course through the world? ‘We are the lower orders; we are the working classes,’ he said bitterly to his friend, and that seemed the final answer to all his aspirations.

I could have the world’s best painter try to recreate what I’m looking at right now,” he began, those soulless eyes looking across my face, unbothered by whatever I had to say, “and he could never truly capture you as beautiful as you are right now, my little mouse.

I’m going to be the best uncle that kid’s ever had.” Hank’s stern expression stayed put. “That’s going to be hard to do considering his other uncle is my brother, Titus.

Even the best painters will get something off scale, out of alignment, a shade too dark, or a hair too thick. It will be flawed. And that’s where we must make a crucial decision: What will we do with disappointment? Will we see it as an unraveling of the precision we long for? A mockery of perfection? An unbecoming? Another disappointment to add to all the other disappointments we constantly feel? Or, will we see the human behind the ink? The heart that dared to hold the brush dripping with color. Remember that she was the courageous one. That she was the one who showed up. Took the risk. Braved the secret disappointments of others. And lived. And made her mark.

Like Edwards, many of the best Renaissance thinkers were blessed with a jack-of-all-trades erudition. When he wasn’t revolutionizing astronomy, Copernicus practiced medicine and law. Johannes Kepler based his theory of planetary motion on the ebb and flow of musical harmony. Better known in his day as a lawyer, statesman, writer, and courtier, Francis Bacon helped to pioneer the scientific method. A theologian named Robert Boyle laid the foundations of modern chemistry. Leonardo da Vinci, the poster boy for polymaths, was a gifted painter, sculptor, musician, anatomist, and writer, as well as a startlingly prolific inventor.