Painting Motivational Quotes

A photograph shouldn't be just a picture, it should be a philosophy.

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

I challenge you to make your life the masterpiece you want to paint, the novel you want to read, the day you want to wake to.

If you want the motivation back, you must feed it Feed it everything. Books, television, movies, paintings, stage plays, real-life experience. Sometimes feeding simply means working, working through nonmotivation, working even when you hate it. We create art for many reasons - wealth, fame, love, admiration - but I find the one thing that produces the best results is desire. When you want the thing you're creating, the beauty of it will shine through, even if the details aren't all in order. Desire is the fuel of creators, and when we have that, motivation will come in its wake.

If he hadn’t been kissing me, if he hadn’t shown up and interrupted us, I would have gone out into that throne room covered in smudged paint. And everyone—especially Amarantha—would have known what I’d been up to. It wouldn’t have taken much to figure out whom I’d been with, especially not once they saw the paint on Tamlin. I didn’t want to consider what the punishment might have been. Regardless of his motives or his methods, Rhysand was keeping me alive. And had done so even before I set foot Under the Mountain.

This is not the time to be passive. This is the time to shape, sculpt, paint, participate… the time to get sweaty, to get dirty, to fall in love, to forgive, to forget, to hug, to kiss… this is the time to experience, participate and live your life as a verb.

Your life is your artwork and you are to paint life as a beautiful struggle. With your brush, paint the colors of joy in vibrant shades of red. Color the sky a baby blue, a color as free as your heart. With rich, earthy tones shade the valleys that run deep into the ground where heaven meets hell. Life is as chaotic as the color black, a blend of all colors, and this makes life a beautiful struggle. Be grateful for the green that makes up the beautiful canvas, for nature has given you everything that you need to be happy. Most of all, don’t ever feel the need to fill the entire canvas with paint, for the places left blank are the most honest expressions of who you are.

Before, I thought we could write about life only when we had recovered from our wounds; when we were able to touch old sores with a pen and not revive the pain; when we could look back free from nostalgia, madness, and a sense of grievance. But is this really possible? We are never completely cut off from our memory. Recollections provides the inspiration for writing, the stimulus for painting, and for some, the motivation even for death.

Life is a great big canvas; throw all the paint you can on it.

If you’re to choose to paint your life today... What will it be? Remember, you’re the artist, not the canvas.

Lovers tend to be philosophical, achievers are practical.

Would you paint if you knew you were painting only for Me?

A painting shouldn't be just a picture, it should be a philosophy.

Remember, leadership is the ability to motivate people to work harder, longer, and smarter, because the vision of the end goal has been painted so clearly.

Let's always try to paint the truth ... our art must be made to mean something.

We never realize the power of real love unless we witness or experience a transaction, because real love costs.

Hearts shall dance once again; when canvas of ice is painted with the brush of skates.

People are so busy polishing their past, that they forget to paint their future.

Pragmatism is good prevention for problems.

The perfect life, the perfect lie, I realised after Christmas, is one which prevents you from doing that which you would ideally have done (painted, say, or written unpublishable poetry) but which, in fact, you have no wish to do.

Never look back. The past is done. The future is a blank canvas. Work on creating a masterpiece. Only you have the power to make your painting beautiful.

Life is like a painting; make yours a masterpiece.

You can paint the whole sky black, but that won’t keep stars from shinning.

Smile, dream, don’t give up. Don’t try to be like everyone else, it’s impossible, Be totally your extraordinary self, Paint the world with the colours of your spirit.

Oh, the wondrous places through which I wander: woodlands, meadows, and green hillsides yonder. I hike over mossy, meandering paths. Dead branches serve nicely as walking staffs. The sunset paints scenery crimson and gold. Oh, wondrous nature dyed in colors bold.

Here you are. Still standing. Fierce with the reality of love and loss. Wearing the truth of our hearts on your tattered sleeves. And yes, this one very nearly took you out. And yes, there were days when the darkness was heavy and the climb out of that rabbit hole required you to mine your depths for strength you didn’t even know you had. But here you are. Broken open by hope. Cracked wide by loss. Full of longing and grief and the burn of that phoenix fire. Warrior painted with ashes. Embers from the blaze still clinging to your newborn skin, leaving you forever marked with scars of rebirth. And just look at you. Heart broken but still beating. Arms empty but still open. Face raised to the sky and giving thanks for the light, even when it hurts your eyes. My god, you are beautiful.

Novices in the arts think you have to start with inspiration to write or paint or compose. In fact, you only have to start. Inspiration comes if you continue. Make the commitment to sit still in solitude several hours a day and inevitably your muse will visit.

Life is neither misery nor bliss. Life is an empty canvas, paint your life with color of your choice, start with a day. Let horses of your imagination run wild.

If the storm forgets to bring a rainbow, paint your own.

The secret to happiness is Art.

Push yourself to the brink of exhaustion into the crossroads of excitement and anxiety. Embrace the risks taken, and never acknowledge the shadows of doubt that stretch across your path. It is only there where you will discover a personal success that exceeds the pictures painted in your dreams

The wealthiest place in the world is not the gold mines of South America or the oil fields of Iraq or Iran. They are not the diamond mines of South Africa or the banks of the world. The wealthiest place on the planet is just down the road. It is the cemetery. There lie buried companies that were never started, inventions that were never made, bestselling books that were never written, and masterpieces that were never painted. In the cemetery is buried the greatest treasure of untapped potential.

The egocentricity which motivated it was not that of the spoiled, but of the too little spoiled; the lonely. Had she been an artist she would have painted a self-portrait; instead she decorated two rooms, charging them with objects which some visitor, some day, would recognize and understand. And through that understanding he would divine all the capacities and longings she had found in herself and was unable to communicate.

What we say doesn’t always paint an accurate picture of what we mean. Sometimes the result is sort of abstract, open to misinterpretations. We use the colors and words on our present palette when others would paint a clearer picture.

This day is full of extraordinary things that you are missing. Wonderful sights, like the sun on your counterpane, the hairs on your cat's tail, the cracks in the paint on your radiator, the leaves piling up against the curve. Wonderful smells, wonderful sounds. Wonderful people. Wonderful opportunities. Today is wonderful. But perhaps you have lost your sense of wonder.

As I began painting myself, I started making connection with all that was painted around me. With further immersion into it, my connection deepened and I was simply transformed from the painter to the canvas itself all observing, all absorbing

Deal resistance a death blow and make sweet love to your art all night long. Put on your fishnet thigh highs and your patent leather stilettos and your special occasion lingerie. Seduce the hell out of your own creative soul. It’s time for an epic lap dance. Dance for your paint and canvas, for fingers tripping across keyboard, for the open arms of motherhood, for the layers of flavor in the meals you create. Wind your hips down for the click of the shutter, for the 3 a.m. bathroom poem, for the late night lesson planning

You are as you are until you're not. You change when you want to change. You put your ideas into action in the timing that is best. That's just how it happens. And what I think we all need more than anything is this: permission to be wherever the fuck we are when we're there. You're not a robot. You can't just conjure up motivation when you don't have it. Sometimes you're going through something. Sometimes life has happened. Life! Remember life? Yeah, it teaches you things and sometimes makes you go the long way around for your biggest lessons. You don't get to control everything. You can wake up at 5 a.m. every day until you're tired and broken, but if the words or the painting or the ideas don't want to come to fruition, they won't. You can show up every day to your best intentions, but if it's not the time, it's just not the fucking time. You need to give yourself permission to be a human being.

Life hands us storms so we can paint rainbows.

Paint your own path even if that means walking it alone, sometimes that’s when you get the best surprises in life. - Martha Mandaric

When I think of Tao, I think of the artist Bob Ross and his famous painting techniques. I can hear him say, “It’s your tree, you can make it look any way you want to.

Storms pass by on their way to get all the colors needed to paint your rainbow.

We can not paint that in a more positive way if it is already negative, we have to take it that way and think of other means for reaching there.

But if I am going to paint my own future, then I can't have have people-pleasing on my paint palette. It only muddles the rest of the colors.

The ugliest storms paint the loveliest rainbows.

To judge God solely by the present world would be a tragic mistake. At one time, it may have been “the best of all possible worlds,” but surely it is not now. The Bible communicates no message with more certainty than God’s displeasure with the state of creation and the state of humanity. Imagine this scenario: vandals break into a museum displaying works from Picasso’s Blue Period. Motivated by sheer destructiveness, they splash red paint all over the paintings and slash them with knives. It would be the height of unfairness to display these works—a mere sampling of Picasso’s creative genius, and spoiled at that—as representative of the artist. The same applies to God’s creation. God has already hung a “Condemned” sign above the earth, and has promised judgment and restoration. That this world spoiled by evil and suffering still exists at all is an example of God’s mercy, not his cruelty.

In this book we paint an unprecedented portrait of Britain’s first ‘false memory’ retraction and show that, like other ‘false memory’ cases which appeared in the public domain, memory itself was always a false trail – these women never forgot. We are not challenging people’s right to tell their own story and then to change it. But we do assert that the chance should be interpreted in the context that created it. Thousands of accounts of sexual and physical abuse in childhood cannot be explained by a pseudo-scientific ‘syndrome’. We have been shifted to the wrong debate, a debate about the malignancy of survivors and their allies, rather than those who have hurt them. That’s why the arguments have become so elusive. […]

That brought the smile back to the old woman’s face. “This one at least is honest,” she announced, “but you, ser … I have known a dozen Westerosi knights and a thousand adventurers of the same ilk, but none so pure as you would paint yourself. Men are beasts, selfish and brutal. However gentle the words, there are always darker motives underneath. I do not trust you, ser.

I have attended weddings, with chipped nail paints. I have worn same blue denim for days in a row. I have not followed etiquette sometimes, I was too happy to bother. I have picked up fights, ugly ones too. I have been notorious because I stood up for myself. I have flaws. I am flawed. But I have come to realize, It’s okay to life a life others don’t understand. My life should be my LIBERATION, Not anyone’s REGULATION.

Life is like a painting. Imagine it, hit and try drawing with the pencil of first steps, fill in the colors of happiness, correct the mistakes with eraser of love and forgiveness; thus, one dream project is accomplished. Create such masterpieces just like that.

Painting a conventional portrait for a pushy patron did not interest him. Nor did money motivate him. He painted portraits if the subject struck his fancy, such as the Musician, or if a powerful ruler demanded it, as in the case of Ludovico with his mistresses. But he didn’t dance to the music of patrons.

Painting a conventional portrait for a pushy patron did not interest him. Nor did money motivate him. He painted portraits if the subject struck his fancy, such as the Musician, or if a powerful ruler demanded it, as in the case of Ludovico with his mistresses. But he didn't dance to the music of patrons.

The greatest work of art is not painted on a piece of paper or expressed through the words in a book or in the creation of a symphony, but in the refining of the self. The most creative and unparalleled man is that who reaches to the ONE common source behind all the creativity manifested in the Universe through the path of self evolution.

Why do I love you? Because you looked into my eyes and saw me. Behind the painted beauty, the forced expressions, the practiced gestures and habitual politeness, you saw me—the pure, vulnerable core that is my true essence. Somehow, in a kind but knowing glimpse you stripped away the façade, and I will never forget the relief it was to finally be seen.

Markets are not just about the steam engine, iron foundries, or today’s silicon-chip factories. Markets also supported Shakespeare, Haydn, and the modern book superstore. The rise of oil painting, classical music, and print culture were all part of the same broad social and economic developments, namely the rise of capitalism, modern technology, rule of law, and consumer society.

The small flame in my chest flickers for a few hours, waiting for more firewood. If I feed it, the interest continues. If I starve it, the interest wanes. If you want the motivation back, you must feed it. Feed it everything. Books, television, movies, paintings, stage plays, real-life experience. Sometimes feeding simply means working, working through nonmotivation, working even when you hate it" -Olivia Kane

When I woke up in the morning the Sun was already up but hiding behind the clouds. The trees were swaying in the breeze. The clouds were floating as small boats in the sky. A strange fragrance caught me by surprise. I felt a rapturous frenzy inhaling it. The breeze drifted from the South and made me nostalgic. And life went on charting its own course. Life will paint you a masterpiece if you have the patience to see it!

One day she woke up hating life, how dismal and anxious and unhappy the many long years had been. In that awful moment, a choice was made. Not to give up, no, never would she give away whatever small portion of power God had granted her. Instead, she reached deep down inside herself and gathered enough magic to paint a huge smile on the world. It was a bold and daring use of her powers. She has refused to see anything else ever since.

En inglés, Borogove’” I said. “But what if I don’t finish this painting in time?” “Teresa, I insist, you must call me Mimsy. If you weren’t going to finish it, they would have arranged a later pickup date, since they already know what will happen. For god’s sake, girl, quit worrying. Go home and get to work! You have until tomorrow night.” “But I don’t even know where to start!” "Don’t you artists have any imagination? Make something up!

Never look back. The past is done. The future is a blank canvas. Work on creating a masterpiece. Only you have the power to make your painting beautiful. Do not waste time chasing after success or comparing yourself to others. Every flower blooms at a different pace. Excel at doing what your passion is and only focus on perfecting it. Eventually people will see what you are great at doing, and if you are truly great, success will come chasing after you.

I just downloaded the audiobook of Michelle McNamara’s I’ll Be Gone in the Dark and all I want to do is listen to it while I paint my nails, but deadlines are a thing, so I’m writing down the top ten biggest therapy epiphanies of my life like a boss instead. I’m not motivated, but these words! They just keep showing up on my screen! Point being, you don’t have to bound into every situation ready to kick ass, you just have to show up, and once you’re there, you might as well do your best.

On reflection, looking at shows like this and considering my own experiences, what fascinated me was that we have so many stories like this that help us empathize with monstrous men. “Yes, these men are flawed, but they are not as evil as this man.” Even more chilling, they tend to be stories that paint women as roadblocks, aggressors, antagonists, complications—but only in the context of them being a bitch, a whore, a Madonna. The women are never people. Stories about monstrous men are not meant to teach us how to empathize with the women and children murdered, but with the men fighting over their bodies. As a woman menaced by monsters, I find this particularly interesting, this erasure of me from a narrative meant to, if not justify, then explain the brokenness of men. There are shows much better at this, of course, which don’t paint women out of the story—Mad Men is the first to come to mind, and Game of Thrones—but True Detective doubled down. The women terrorized by monsters in real life are active agents. They are monster-slayers, monster-pacifiers, monster-nurturers, monster-wranglers—and some of them are monsters, too. In truth, if we are telling a tale of those who fight monsters, it fascinates me that we are not telling more women’s stories, as we’ve spun so many narratives like True Detective that so blatantly illustrate the sexist masculinity trap that turns so many human men into the very things they despise. Where are the women who fight them? Who partner with them? Who overcome them? Who battle their own monsters to fight greater ones? Because I have and continue to be one of those women, navigating a horror show world of monsters and madmen. We are women who write books and win awards and fight battles and carve out extraordinary lives from ruin and ash. We are not background scenery, our voices silenced, our motives and methods constrained to sex. I cannot fault the show’s men for forgetting that; they’ve created the world as they see it. But I can prod the show’s exceptional writers, because in erasing the narrative of those whose very existence is constantly threatened by these monsters, including trusted monsters whose natures vacillate wildly, they sided with the monsters. I’m not a bit player in a monster’s story. But with narratives like this perpetuated across our media, it wouldn’t surprise me if that’s how my obituary read: a catalogue of the men who sired me, and fucked me, and courted me. Stories that are not my own. Funny, isn’t it? The power of story. It’s why I picked up a pen. I slay monsters, too.

Since 2005, it has been the law in California that flat roofs, which cover mainly industrial and commercial buildings, have to be white. And, since the summer of 2009, even sloping roofs put on new residential buildings have had to be “light-colored cool-roof colors, if not white.” Such mandates were motivated by the fact that “a 1,000 square foot area of rooftop painted white has about the same one-time impact on global warming as cutting 10 tons of carbon dioxide emissions.” This is so because of the amount of sunlight reflected back

These include denial (“the truth is not so bad”), reaction formation (“I really, really, really love my mother”), displacement (“the boss yells at me, I yell at my wife, my wife yells at the baby, the baby bites the cat”), identification (“I am bullied, so I am motivated to be a bully”), rationalization (a self-serving explanation for a low-quality action), intellectualization (a favorite of the early, funny, neurotic Woody Allen), sublimation (“I can always paint nude women”), and projection (“I am not touchy; you are just annoying”).

People hate you and paint you as a bad person if you are telling them the truth they don’t want to hear or If you are pointing the wrongs they secretly do ,thinking no one will notice. They don’t want to be exposed for their wrongs ,because they are enjoying the benefits of their wrongs and bad decisions making. They want to keep everyone in the dark that when the time comes for them to face repercussions of their actions, they will be acting surprised and playing victims. So that everyone will sympathies with them. Always be on alert for such people.

Finally, I had held up examples of Goldhagen's inflammatory language and suggested that he had missed the essence of what Primo Levi once called the 'grey zone' of human affairs, described by the historian Christopher Browning as that foggy universe of mixed motives, conflicting emotions, personal priorities, reluctant choices, opportunism and accomodation, all wedded, when convenient, to self-deception and denial. I thought that by marshalling his research into an overly narrow narrative, painted without nuance in black and white, the author had missed the human complexity and the ordinariness of racism.

In their writing on education, Deci and Ryan proceed from the principle that humans are natural learners and children are born creative and curious, “intrinsically motivated for the types of behaviors that foster learning and development.” This idea is complicated, however, by the fact that part of learning anything, be it painting or programming or eighth-grade algebra, involves a lot of repetitive practice, and repetitive practice is usually pretty boring. Deci and Ryan acknowledge that many of the tasks that teachers ask students to complete each day are not inherently fun or satisfying; it is the rare student who feels a deep sense of intrinsic motivation when memorizing her multiplication tables. It is at these moments that extrinsic motivation becomes important: when behaviors must be performed not for the inherent satisfaction of completing them, but for some separate outcome. Deci and Ryan say that when students can be encouraged to internalize those extrinsic motivations, the motivations become increasingly powerful. This is where the psychologists return to their three basic human needs: autonomy, competence, and relatedness. When teachers are able to create an environment that promotes those three feelings, they say, students exhibit much higher levels of motivation. And how does a teacher create that kind of environment? Students experience autonomy in the classroom, Deci and Ryan explain, when their teachers “maximize a sense of choice and volitional engagement” while minimizing students’ feelings of coercion and control. Students feel competent, they say, when their teachers give them tasks that they can succeed at but that aren’t too easy — challenges just a bit beyond their current abilities. And they feel a sense of relatedness when they perceive that their teachers like and value and respect them.

But trivial as are the topics they are not utterly without a connecting thread of motive. As the reader's eye strays, with hearty relief, from these pages, it probably alights on something, a bed-post or a lamp-post, a window blind or a wall. It is a thousand to one that the reader is looking at something that he has never seen: that is, never realised. He could not write an essay on such a post or wall: he does not know what the post or wall mean. He could not even write the synopsis of an essay; as "The Bed-Post; Its Significance—Security Essential to Idea of Sleep—Night Felt as Infinite—Need of Monumental Architecture," and so on. He could not sketch in outline his theoretic attitude towards window-blinds, even in the form of a summary. "The Window-Blind—Its Analogy to the Curtain and Veil—Is Modesty Natural?—Worship of and Avoidance of the Sun, etc., etc." None of us think enough of these things on which the eye rests. But don't let us let the eye rest. Why should the eye be so lazy? Let us exercise the eye until it learns to see startling facts that run across the landscape as plain as a painted fence. Let us be ocular athletes. Let us learn to write essays on a stray cat or a coloured cloud. I have attempted some such thing in what follows; but anyone else may do it better, if anyone else will only try.

The portrait was stolen on 21 August 1911 and the Louvre was closed for an entire week to aid the investigation of the theft. French poet Guillaume Apollinaire, who had once called for the Louvre to be burnt down, was arrested and put in jail. Apollinaire tried to implicate his friend Pablo Picasso, who was also brought in for questioning, but both were later released and exonerated. At the time, the painting was believed to be lost forever, and it was two years before the real thief was discovered. Louvre employee Vincenzo Peruggia had stolen it by entering the building during regular hours, concealing himself in a broom closet and walking out with it hidden under his coat after the museum had closed. Peruggia was an Italian patriot, who believed Leonardo’s painting should be returned to Italy for display in an Italian museum. Peruggia may have also been motivated by a friend who sold copies of the painting, which would skyrocket in value after the theft of the original. After having kept the painting in his apartment for two years, Peruggia grew impatient and was finally caught when he attempted to sell it to the directors of the Uffizi Gallery in Florence. The painting was exhibited all over Italy and returned to the Louvre in 1913. Peruggia was hailed for his patriotism in Italy and served only six months in jail for the crime.

The painter knows, sadly enough, that experience does not suffice unto itself, has no proportion, dimension, perspective, mournfully he eats his life but is not allowed to digest it, this being reserved for others, not knowing, but who must somehow, at any sacrifice be made to know, then punished for the sight of this knowledge, by aiding it on its journey from brain to brain. It does not seem unreasonable that we invent colors, lines, shapes, capable of being, representative of existence, therefore it is not unreasonable that they, in turn, later, invent us, our ideas, directions, motivations, with great audacity, since we, ourselves having them upon our walls. What rude guests they prove to be, indeed: although paintings differ from life by energy a painter can never be a substitute for his paintings, so complete so independent as reality are they. Imagine the please they enjoy at this. They by conversion into an idea of the person, do, instantaneously destroy him. A tragic gesture that actually leads to tragedy but diabolically exists only in an absence of tragedy, nevertheless procreating it, however, they are unreasonably enough, insufficient, because they are not made of ideas, they are made of paint, all else is really us. Paintings are metaphors for reality, but instead of being an aid to realisation obscure the reality which is far more profound. The only way to circumvent painting is by absolute death.

Richard Lovelace makes a compelling case that the best defense is a good offense. “The ultimate solution to cultural decay is not so much the repression of bad culture as the production of sound and healthy culture,” he writes. “We should direct most of our energy not to the censorship of decadent culture, but to the production and support of healthy expressions of Christian and non-Christian art.”10 Public protests and boycotts have their place. But even negative critiques are effective only when motivated by a genuine love for the arts. The long-term solution is to support Christian artists, musicians, authors, and screenwriters who can create humane and healthy alternatives that speak deeply to the human condition. Exploiting “Talent” The church must also stand against forces that suppress genuine creativity, both inside and outside its walls. In today’s consumer culture, one of the greatest dangers facing the arts is commodification. Art is treated as merchandise to market for the sake of making money. Paintings are bought not to exhibit, nor to grace someone’s home, but merely to resell. They are financial investments. As Seerveld points out, “Elite art of the New York school or by approved gurus such as Andy Warhol are as much a Big Business today as the music business or the sports industry.”11 Artists and writers have been reduced to “talent” to be plugged into the manufacturing process. That approach may increase sales, but it will suppress the best and highest forms of art. In the eighteenth century, the world nearly lost the best of Mozart’s music because the adults in the young man’s life treated him primarily as “talent” to exploit.

I: GOD, I seem to have an undefined connection with nature. At times, it’s more than what I see and at other times more than what I hear. What am I missing Dear GOD? GOD: Son, seek inspiration from nature. Seek answers from nature. For nature represents me in all my glory. Allow the rainbow to paint you with hope and joy. Allow the roar of the waves to light up your passion. Allow the flowers to make your soul fragrant. Allow the mountains to teach to be lofty. Allow the valleys to teach you to be humble. Allow the sunset to instill hope for another beginning tomorrow. Allow the sunrise to whisper to you "today is your day" Allow the forests to teach you to give shade to others since the joy is in giving and not receiving. Allow the rains to reach and touch each cell in your body as my communique I speak in many forms. Son, it’s how you decode them.

Brunelleschi’s successor as a theorist of linear perspective was another of the towering Renaissance polymaths, Leon Battista Alberti (1404 –1472), who refined many of Brunelleschi’s experiments and extended his discoveries about perspective. An artist, architect, engineer, and writer, Alberti was like Leonardo in many ways: both were illegitimate sons of prosperous fathers, athletic and good-looking, never-married, and fascinated by everything from math to art. One difference is that Alberti’s illegitimacy did not prevent him from being given a classical education. His father helped him get a dispensation from the Church laws barring illegitimate children from taking holy orders or holding ecclesiastical offices, and he studied law at Bologna, was ordained as a priest, and became a writer for the pope. During his early thirties, Alberti wrote his masterpiece analyzing painting and perspective, On Painting, the Italian edition of which was dedicated to Brunelleschi. Alberti had an engineer’s instinct for collaboration and, like Leonardo, was “a lover of friendship” and “open-hearted,” according to the scholar Anthony Grafton. He also honed the skills of courtiership. Interested in every art and technology, he would grill people from all walks of life, from cobblers to university scholars, to learn their secrets. In other words, he was much like Leonardo, except in one respect: Leonardo was not strongly motivated by the goal of furthering human knowledge by openly disseminating and publishing his findings; Alberti, on the other hand, was dedicated to sharing his work, gathering a community of intellectual colleagues who could build on each other’s discoveries, and promoting open discussion and publication as a way to advance the accumulation of learning. A maestro of collaborative practices, he believed, according to Grafton, in “discourse in the public sphere.” When Leonardo was a teenager in Florence, Alberti was in his sixties and spending much of his time in Rome, so it is unlikely they spent time together. Alberti was a major influence nonetheless.

The legendary inscription above the Academy's door speaks loudly about Plato's attitude toward mathematics. In fact, most of the significant mathematical research of the fourth century BC was carried out by people associated in one way or another with the Academy. Yet Plato himself was not a mathematician of great technical dexterity, and his direct contributions to mathematical knowledge were probably minimal. Rather, he was an enthusiastic spectator, a motivating source of challenge, an intelligent critic, an an inspiring guide. The first century philosopher and historian Philodemus paints a clear picture: "At that time great progress was seen in mathematics, with Plato serving as the general architect setting out problems, and the mathematicians investigating them earnestly." To which the Neoplatonic philosopher and mathematician Proclus adds: "Plato...greatly advanced mathematics in general and geometry in particular because of his zeal for these studies. It is well known that his writings are thickly sprinkled with mathematical terms and that he everywhere tries to arouse admiration for mathematics among students of philosophy." In other words, Plato, whose mathematical knowledge was broadly up to date, could converse with the mathematicians as an equal and as a problem presenter, even though his personal mathematical achievements were not significant.

My request to gain access to Mme de Guermantes’s collection of Elstir paintings had been met by Saint-Loup with, “I’ll answer for her.” And, unfortunately, it was he and he alone who did the answering. We find it easy enough to answer for other people when we set little images of them in our mind and manipulate them to suit our needs. No doubt even then we are mindful of the difficulties that arise from other people’s natures being different from our own, and are ready enough to resort to whatever means are powerful enough to influence them—self-interest, persuasion, emotion—and will cancel out any inclination to oppose our wishes. But these differences in other people’s natures are still conceived by our own nature; the difficulties are raised by us; the compelling motives are measured by our own standards. So, when we want to see the other person actually perform the actions we have made him rehearse in our mind’s eye, things are quite different, we encounter unforeseen resistances that may be insuperable. Perhaps one of the strongest of these is the resistance that can grow, in a woman who is not in love, from the unconquerable and fetid repulsion she feels for the man who loves her: during the long weeks when Saint-Loup still did not come to Paris, his aunt, to whom I was certain he had written begging her to do so, did not once invite me to call and see her Elstirs. I

The painter knows, sadly enough, that experience does not suffice unto itself, has no proportion, dimension, perspective, mournfully he eats his life but is not allowed to digest it, this being reserved for others, not knowing, but who must somehow, at any sacrifice be made to know, then punished for the sight of this knowledge, by aiding it on its journey from brain to brain. It does not seem unreasonable that we invent colors, lines, shapes, capable of being, representative of existence, therefore it is not unreasonable that they, in turn, later, invent us, our ideas, directions, motivations, with great audacity, since we, ourselves having them upon our walls. What rude guests they prove to be, indeed: although paintings differ from life by energy a painter can never be a substitute for his paintings, so complete so independent as reality are they. Imagine the pleasure they enjoy at this. They by conversion into an idea of the person, do, instantaneously destroy him. A tragic gesture that actually leads to tragedy but diabolically exists only in an absence of tragedy, nevertheless procreating it, however, they are unreasonably enough, insufficient, because they are not made of ideas, they are made of paint, all else is really us. Paintings are metaphors for reality, but instead of being an aid to realization obscure the reality which is far more profound. The only way to circumvent painting is by absolute death.

My Definite Chief Aim I, Bruce Lee, will be the first highest paid Oriental super star in the United States. In return, I will give the most exciting performances and render the best of quality in the capacity of an actor. Starting 1970 I will achieve world fame and from then onward till the end of 1980 I will have in my possession $10,000,000. I will live the way I please and achieve inner harmony and happiness. My aim is to establish a first Gung Fu Institute that will later spread all over the U.S. (I have set a time limit of 10 to 15 years to complete the whole project). My reason in doing this is not the sole objective of making money. The motives are many and among them are: I like to let the world know about the greatness of this Chinese art; I enjoy teaching and helping people; I like to have a well-to-do home for my family; I like to originate something; and the last but yet one of the most important is because gung fu is part of myself. … Right now, I can project my thoughts into the future. I can see ahead of me. I dream (remember that practical dreamers never quit). I may now own nothing but a little place down in a basement, but once my imagination has got up a full head of steam, I can see painted on a canvas of my mind a picture of a fine, big five or six story Gung Fu Institute with branches all over the States. I am not easily discouraged, readily visualize myself as overcoming obstacles, winning out over setbacks, achieving “impossible” objectives.

The thunder howled and the rain splashed, the leaves played with the breeze and the lightning flashed, and the tigress growled at last. She looked here and she looked there, she hadn't seen so much rain anywhere, a desire suddenly came in her heart, a mad longing that had to start, she felt deep love in the rain, looking at her cubs all over again But two years ago she had been wounded, By cowardly men who wanted her grounded, They were afraid of her power, they wanted to capture her and to enslave her in their tower They laid traps and they waited in the trees, The jungle was full of birds and the bees, The tigress was out hunting for meat, her cubs awaiting in the cave for their treat There was something missing in the air, the fragrance of jasmine was not there, The tigress looked up into the trees and saw the men's faces painted in grease, She challenged them looking into their eyes, And saw fear, fright , and faces full of lies! She roared with all her might, This was her land, She had all the right! The cowardly men crouching behind the trees, Fired their guns in twos and threes, The brave Tigress looked them in the eye, She was the fire and she was the sky, Indomitable force, invincible power, She was the Tigress, The Queen in her Empire None of the bullets could break her Spirit, Only one could graze her right leg a bit, She roared with all her heart's might, For she was the Queen for all to sight! The guns emptied and no more bullets to shoot, The cowardly men jumped from the trees and ran away in two hoots! The Tigress laughed and loudly roared, For she was the power and her Spirit soared She is the Tigress inside every Woman, She has the Power to defeat any Man, Love her and she would love you back, Respect her and she would respect you back, Dare to harm her and she would defeat you till the Last!

Generally speaking a view of the available economic systems that have been tested historically must acknowledge the immense power of capitalism to generate living standards food housing education the amenities to a degree unprecedented in human civilization. The benefits of such a system while occasionally random and unpredictable with periods of undeniable stress and misery depression starvation and degradation are inevitably distributed to a greater and greater percentage of the population. The periods of economic stability also ensure a greater degree of popular political freedom and among the industrial Western democracies today despite occasional suppression of free speech quashing of dissent corruption of public officials and despite the tendency of legislation to serve the interests of the ruling business oligarchy the poisoning of the air water the chemical adulteration of food the obscene development of hideous weaponry the increased costs of simple survival the waste of human resources the ruin of cities the servitude of backward foreign populations the standards of life under capitalism by any criterion are far greater than under state socialism in whatever forms it is found British Swedish Cuban Soviet or Chinese. Thus the good that fierce advocacy of personal wealth accomplishes in the historical run of things outweighs the bad. And while we may not admire always the personal motives of our business leaders we can appreciate the inevitable percolation of the good life as it comes down through our native American soil. You cannot observe the bounteous beauty of our county nor take pleasure in its most ordinary institutions in peace and safety without acknowledging the extraordinary achievement of American civilization. There are no Japanese bandits lying in wait on the Tokaidoways after all. Drive down the turnpike past the pretty painted pipes of the oil refineries and no one will hurt you.

Not every time Self Love means pampering your wants, sometimes it just means to pat yourself while knowing you did the right thing by choosing the path of Patience. Sometimes it's just waking up in the morning and telling yourself, you've got this. Sometimes it is as simple as a cup of coffee or a hot shower after a really tiresome day. Sometimes it's just watching the day pass by, while you take time to assimilate your thoughts and let your mind detangle in the simplicity of literally not doing anything. Sometimes it's the urge to find a reason and purpose to carry on, to feel alive, to live. Sometimes it's watching the sunset paint in a beautiful horizon and sometimes it's just keeping awake just to catch a glimpse of the rising Sun. Sometimes it's getting drenched in the rain or simply madly crazily dancing in the rain not caring of what or who passes by. Because who knows how long you got this dance of Life. Sometimes it's pulling yourself up and letting your heart know all that happens has a reason and you don't have to know all of it. Really you don't have to have all the answers, trusting the Universe is always the Only answer. Sometimes it's just reminding yourself that you can't change the past but value what your past has taught you, that you can't write your future entirely because circumstances always play a part but you can work through your present, you can live and make your present a gift, a present that your future would feel good about. Sometimes it's just knowing that disciplining Life is never easy but that always finds the lasting smile in the end. Sometimes it's just holding on with all your Soul to know that you have done your bit, to know that somewhere someday everything will make sense. Sometimes it's just to know that goals aren't always about achieving something but to be some more of yourself by truly loving yourself, a little bit more each passing day. Love & Light, always - Debatrayee

That the life of Man is but a dream has been sensed by many a one, and I too am never free of the feeling. When I consider the restrictions that are placed on the active, inquiring energies of Man; when I see that all our efforts have no other result than to satisfy needs which in turn serve no purpose but to prolong our wretched existence, and then see that all our reassurance concerning the particular questions we probe is no more than dreamy resignation, since all we are doing is to paint our prison walls with colourful figures and bright views – all of this, Wilhelm, leaves me silent. I withdraw into myself, and discover a world, albeit a notional world of dark desire rather than one of actuality and vital strength. And everything swims before my senses, and I go my way in the world wearing the smile of the dreamer. All our learned teachers and educators are agreed that children do not know why they want what they want; but no one is willing to believe that adults too, like children, wander about this earth in a daze and, like children, do not know where they come from or where they are going, act as rarely as they do according to genuine motives, and are as thoroughly governed as they are by biscuits and cake and the rod. And yet it seems palpably clear to me. I gladly confess, since I know the reply you would want to make, that they are the happiest who, like children, live for the present moment, drag their dolls around and dress and undress them, and watchfully steal by the drawer where Mama has locked away the cake, and, when at last they get their hands on what they want, devour it with their cheeks crammed full and cry, ‘More!’ – They are happy creatures. And those others, who give pompous titles to their beggarly pursuits and even to their passions, and chalk them up as vast enterprises for the good and well-being of mankind, they too are happy. – It is all very well for those who can be like that! But he who humbly perceives where it is all leading, who sees how prettily the happy man makes an Eden of his garden, and how even the unhappy man goes willingly on his weary way, panting beneath his burden, and that all are equally interested in seeing the light of the sun for one minute more – he indeed will be silent, and will create a world from within for himself, and be happy because he is a man. And then, confined as he may be, he none the less still preserves in his heart the sweet sensation of freedom, and the knowledge he can quit this prison whenever he wishes.

True beauty is found not in the exceptional but in the commonplaces Where does the beauty lie, in the exceptional or the commonplace? Some people believe, true beauty can be find only in exceptional and there isn’t any beauty in commonplaces, and it seems, they are all quotidian objects; but yet, another group of people attribute to the factual beauty of commonplaces and believe the beauty of exceptional seems artificial and it’ll be ephemeral. After weighing the evidence, it is certain that the true beauty lie in the commonplace not in the exceptional. People are most move by natural feature than the artificial ones. Those people that believe the beauty lie in the exceptional prefer the artificial beauties, which is made by human, to the natural beauties. Consider Leonardo Da Vinci’s Mona Liza, one of the most beautiful painting in the world. For sure it is beautiful and few people who view the painting are not moved by the sheer beauty of it. But how much time a person can enjoy watching this art work and praise it? One hour? Two hours? One week? Like Leonardo Da Vinci’s Mona Liza, the cathedral of north dame in Paris is another exceptional object which is wonderful and there are too many tourist that travel untold miles to view cathedral. Nobody can tell it is not beautiful; but, does it sacrifice people’s tendency as much as the original beauties do? People interest to visit these beautiful building and wonderful painting at least one time to be familiar with those great art work but it cannot be considered as a true beauty which is one of the requirement of human to be alive. On the other hand, the natural beauties which are around us are fantastic and eternal. They are always improve motivation on people and make them pleased. Consider a flower, although every people have seen many kind of flowers, it is always beautiful and move people to appropriate them. Like flower, plants, stars, sun, moon, sky, sea every object in the nature can be caused of an excited on people and motivate them to be alive. The common place beauties are the most part of the human’s life. If people every time don’t appreciate every beauty around him, and he praise exceptional object when he encounter, it cannot be a fair conclusion that the exceptional objects are true beauty. Indeed people believe nature is constantly compeer of human along the history, like one of his organs, he is not praising them every time, but it is incredible for human to feel he must be alive without common place beauty. Ultimately, after considering both sides of the issue, it must be concluded that the true beauty lie in the commonplace not in the exceptional. Exceptional are the beauties which can be as a complementary for the natural beauties. Because people’s life can be current even without exceptional but without commonplace beauties it is impossible for people to be alive.

A school bus is many things. A school bus is a substitute for a limousine. More class. A school bus is a classroom with a substitute teacher. A school bus is the students' version of a teachers' lounge. A school bus is the principal's desk. A school bus is the nurse's cot. A school bus is an office with all the phones ringing. A school bus is a command center. A school bus is a pillow fort that rolls. A school bus is a tank reshaped- hot dogs and baloney are the same meat. A school bus is a science lab- hot dogs and baloney are the same meat. A school bus is a safe zone. A school bus is a war zone. A school bus is a concert hall. A school bus is a food court. A school bus is a court of law, all judges, all jury. A school bus is a magic show full of disappearing acts. Saw someone in half. Pick a card, any card. Pass it on to the person next to you. He like you. She like you. K-i-s-s-i . . . s-s-i-p-p-i is only funny on a school bus. A school bus is a stage. A school bus is a stage play. A school bus is a spelling bee. A speaking bee. A get your hand out of my face bee. A your breath smell like sour turnips bee. A you don't even know what a turnip bee is. A maybe not, but I know what a turn up is and your breath smell all the way turnt up bee. A school bus is a bumblebee, buzzing around with a bunch of stingers on the inside of it. Windows for wings that flutter up and down like the windows inside Chinese restaurants and post offices in neighborhoods where school bus is a book of stamps. Passing mail through windows. Notes in the form of candy wrappers telling the street something sweet came by. Notes in the form of sneaky middle fingers. Notes in the form of fingers pointing at the world zooming by. A school bus is a paintbrush painting the world a blurry brushstroke. A school bus is also wet paint. Good for adding an extra coat, but it will dirty you if you lean against it, if you get too comfortable. A school bus is a reclining chair. In the kitchen. Nothing cool about it but makes perfect sense. A school bus is a dirty fridge. A school bus is cheese. A school bus is a ketchup packet with a tiny hole in it. Left on the seat. A plastic fork-knife-spoon. A paper tube around a straw. That straw will puncture the lid on things, make the world drink something with some fizz and fight. Something delightful and uncomfortable. Something that will stain. And cause gas. A school bus is a fast food joint with extra value and no food. Order taken. Take a number. Send a text to the person sitting next to you. There is so much trouble to get into. Have you ever thought about opening the back door? My mother not home till five thirty. I can't. I got dance practice at four. A school bus is a talent show. I got dance practice right now. On this bus. A school bus is a microphone. A beat machine. A recording booth. A school bus is a horn section. A rhythm section. An orchestra pit. A balcony to shot paper ball three-pointers from. A school bus is a basketball court. A football stadium. A soccer field. Sometimes a boxing ring. A school bus is a movie set. Actors, directors, producers, script. Scenes. Settings. Motivations. Action! Cut. Your fake tears look real. These are real tears. But I thought we were making a comedy. A school bus is a misunderstanding. A school bus is a masterpiece that everyone pretends to understand. A school bus is the mountain range behind Mona Lisa. The Sphinx's nose. An unknown wonder of the world. An unknown wonder to Canton Post, who heard bus riders talk about their journeys to and from school. But to Canton, a school bus is also a cannonball. A thing that almost destroyed him. Almost made him motherless.

Consider Leonardo da Vinci’s Mona Lisa, celebrated for its beautiful detail, the surreal backdrop, and of course the subject’s enigmatic smile. More visitors have seen the Mona Lisa in person—on display behind bulletproof glass at the Louvre—than any other painting on the planet. But when researchers Jesse Prinz and Angelika Seidel asked subjects to consider a hypothetical scenario in which the Mona Lisa burned to a crisp, 80 percent of them said they’d prefer to see the ashes of the original rather than an indistinguishable replica.31 This should give us pause.

Life is a painting dream and sketch your own life.

If you want the motivation back, you must feed it. Feed it everything. Books, television, movies, paintings, stage plays, real-life experience. Sometimes feeding simply means working, working through nonmotivation, working even when you hate it.

Joy of the self, as explained in the above verse of the Gita, can be explained by understanding driving force whilst we pursue a hobby. Why is it that, when we pursue a hobby such as singing, painting, a sport, etc., we seem to have unlimited energy that comes from within? Why does self-motivation automatically take the driver’s seat during those moments of working on a hobby? Why is it that even a failure while working on a hobby does not stop us from pursuing it further? Why are we stress-free whilst engaged in a hobby? Why doesn’t this happen when it comes to our profession?

The next 24 hours is a blank canvas. Your canvas. What will you paint on it?

True freedom is the canvas on which human dignity is painted; it is a place where rights are honoured, voices are heard, and the spirit soars free of the shackles of oppression.

Let's not heal the unfound wounds For they are path to light Let's carry the concealed pain For it carries the hidden treasure Let's not paint the old walls For they are ugly but serene and strong Let's kiss the broken self For the broken are actually beasts.

The struggle is the canvas upon which our character is painted.

Life is a canvas. Paint it with colors that bring you joy.

Painting a conventional portrait for a pushy patron did not interest him. Nor did money motivate him. He painted portraits if the subject struck his fancy, such as the Musician, or if a powerful ruler demanded it, as in the case of Ludovico with his mistresses. But he didn't dance to the music of patrons.

The Masterpiece? Head down, she obeys... Her mind, a virgin canvas, World paints its own strokes.

FIDELITY AND BETRAYAL He loved her from the time he was a child until the time he accompanied her to the cemetery; he loved her in his memories as well. That is what made him feel that fidelity deserved pride of place among the virtues: fidelity gave a unity to lives that would otherwise splinter into thousands of split-second impressions. Franz often spoke about his mother to Sabina, perhaps even with a certain unconscious ulterior motive: he assumed that Sabina would be charmed by his ability to be faithful, that it would win her over. What he did not know was that Sabina was charmed more by betrayal than by fidelity. The word fidelity reminded her of her father, a small-town puritan, who spent his Sundays painting away at canvases of woodland sunsets and roses in vases. Thanks to him, she started drawing as a child. When she was fourteen, she fell in love with a boy her age. Her father was so frightened that he would not let her out of the house by herself for a year. One day, he showed her some Picasso reproductions and made fun of them. If she couldn't love her fourteen-year-old schoolboy, she could at least love cubism. After completing school, she went off to Prague with the euphoric feeling that now at last she could betray her home. Betrayal. From tender youth, we are told by father and teacher that betrayal is the most heinous offense imaginable. But what is betrayal? Betrayal means breaking ranks. Betrayal means breaking ranks and going off into the unknown. Sabina knew of nothing more magnificent than going off into the unknown. Though a student at the Academy of Fine Arts, she was not allowed to paint like Picasso. It was the period when so-called socialist realism was prescribed and the school manufactured Portraits of Communist statesmen. Her longing to betray her father remained unsatisfied: Communism was merely another father, a father equally strict and limited, a father who forbade her love (the times were puritanical) and Picasso, too. And if she married a second-rate actor, it was only because he had a reputation for being eccentric and was unacceptable to both fathers. Then her mother died. The day following her return to Prague from the funeral, she received a telegram saying that her father had taken his life out of grief. Suddenly she felt pangs of conscience: Was it really so terrible that her father had painted vases filled with roses and hated Picasso? Was it really so reprehensible that he was afraid of his fourteen-year-old daughter's coming home pregnant? Was it really so laughable that he could not go on living without his wife? And again she felt a longing to betray: betray her own betrayal. She announced to her husband (whom she now considered a difficult drunk rather than an eccentric) that she was leaving him. But if we betray B., for whom we betrayed A., it does not necessarily follow that we have placated A. The life of a divorcee-painter did not in the least resemble the life of the parents she had betrayed. The first betrayal is irreparable. It calls forth a chain reaction of further betrayals, each of which takes us farther and farther away from the point of our original betrayal.

So,' he said wearily,' here we are, with the fate of our immortal world in the hands of an illiterate human.' His laugh was unpleasant as he hung his head, cupping his forehead in a hand, and closed his eyes. 'What a mess.' Part of me searched for the words to wound him in his vulnerability, but the other half recalled all that he had said, all that he had done, but his head had snapped to the door before he'd kissed me. He'd known Amarantha was coming. Maybe he'd done it to make her jealous, but maybe... If he hadn't been kissing me, if he hadn't shown up and interrupted us, I would have gone out into that throne room covered in smudged paint. And everyone- especially Amarantha- would have known what I'd been up to. It wouldn't have taken much to figure out whom I'd been with, especially not once they saw the paint on Tamlin. I didn't want to consider what the punishment might have been. Regardless of his motives or his methods, Rhysand was keeping me alive. And he'd done so even before I set foot Under the Mountain.

Why?" "Because the world needs more dreamers, and poetry, books and art make dreamers. I aspire to be one of the people who romanticise every moment of their life, fearlessly!

In the alchemy of joy, true happiness is found not only in our smiles but also in the art of painting smiles in the hearts of others. It’s an exquisite ballet of shared joy, with laughter echoes becoming the symphony of a soul fulfilled.

In the garden of attachment, may every flower of love blossom, painting the canvas of our lives with hues of tenderness and joy, for on this day, we celebrate the timeless dance of interwoven hearts. Happy Valentine’s Day.

We actually have a fairly good idea of what makes human beings happy, thanks in large part to Mihaly Csikszentmihalyi, the longtime head of the psychology department at the University of Chicago. Back in the 1960s, he was studying painters and noted the “almost trance-like state” they entered when their work was going well. They didn’t seem to be motivated by finishing the painting, or by the money they’d get for selling it. It seemed to be the work itself that spurred them on, even in the face of hunger or fatigue.