Sculpture Painting Quotes

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

Moonlight is sculpture; sunlight is painting.

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

You must forget all your theories, all your ideas before the subject. What part of these is really your own will be expressed in your expression of the emotion awakened in you by the subject.

Her sculptured face was as perfect as a painting.

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

The key to understanding any people is in its art: its writing, painting, sculpture.

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

It is to be remembered that all art is magical in origin - music, sculpture, writing, painting - and by magical I mean intended to produce very definite results. Paintings were originally formulae to make what is painted happen. Art is not an end in itself, any more than Einstein's matter-into-energy formulae is an end in itself. Like all formulae, art was originally FUNCTIONAL, intended to make things happen, the way an atom bomb happens from Einstein's formulae.

There are only four great arts: music, painting, sculpture, and ornamental pastry- architecture being perhaps the least banal derivative of the latter.

...it was the arts, those noble expressions of the human spirit that are communicated through literature, dance, song, film, drama, painting and sculpture, among the many other such creative means, that helped articulate the sufferings of [these] people that were heard around the globe.

There could be a powerful international women's rights movement if only philanthropists would donate as much to real women as to paintings and sculptures of women.

My old geography professor once told his class how the music, paintings, sculptures, and books of the world are mirror in which people see versions of themselves.

Piazzas, churches named for a teenager who gave life to the Christ. Sculptures, paintings, frescoes devoted to her holiness. But the only thing about her we remember, she was a virgin.

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

In time, all great masterpieces turn into shameless creatures who laugh at their creators.

Just as there is a moment when the artist must stop, when the sculpture must be left as it is, the painting untouched - just as a determination not to know serves the maker more than all the resources of clairvoyance - so there must be a minimum of ignorance in order to perfect a life in happiness. Those who lack such a thing must set about acquiring it: unintelligence must be earned.

What he loved about poetry: it could do in a few seconds what a novel did in days. A painting could be like that, too, and a sculpture. But sometimes you wanted something to take days and days.

There are only four great arts: music, painting, sculpture, and ornamental pastry - architecture being the least banal derivative of the latter.

Painting is so poetic, while sculpture is more logical and scientific and makes you worry about gravity.

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

Sculpture is what you bump into when you back up to see a painting.

But how has it happened that millions of fables, tales, legends, have been blended with both Jewish and Christian revelation that have made them the most bloody religion that ever existed? How has it happened that all the fine arts, architecture, painting, sculpture, statuary, music, poetry, and oratory, have been prostituted, from the creation of the world, to the sordid and detestable purposes of superstition and fraud? [Letter to judge F.A. Van der Kamp, December 27, 1816.]

It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.

We humans have an impulse to mark our existence in some way that feels permanent. We scribble ‘I was here’ onto our desks at school. We spray paint it on walls. We carve it into bark. I was here. I wanted this sculpture to do to the same, to let it be know that these people lived. A testament to the fact that these humans — with their long strings and medium strings and short strings — they were here.

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

What is the world? What is it for? It is an art. It is the best of all possible art, a finite picture of the infinite. Assess it like prose, like poetry, like architecture, sculpture, painting, dance, delta blues, opera, tragedy, comedy, romance, epic. Assess it like you would a Faberge egg, like a gunfight, like a musical, like a snowflake, like a death, a birth, a triumph, a love story, a tornado, a smile, a heartbreak, a sweater, a hunger pain, a desire, a fufillment, a desert, a waterfall, a song, a race, a frog, a play, a song, a marriage, a consummation, a thirst quenched. Assess it like that. And when you're done, find an ant and have him assess the cathedrals of Europe.

The Fine Arts are five in number: Painting, Music, Poetry, Sculpture, and Architecture--whereof the principle branch is Confectionery.

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

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

Rose stood in the last faint beams of sunset. “Whoa!” “Is he wearing a leather cat suit?” “Holy Mother!" “Dude!” The guys all quickly averted their eyes and raised their hands to further block any chance of catching a view. Anything to not see Rose in his painted-on leather one-piece that left absolutely nothing to the imagination. “Stunning, right?” Rose spread his palms as far as the cuffs would allow. “Oh, I’m stunned.” Ayden looked ill. Rose looked down at himself with admiration. “Not many males can pull off this look.” “No male can pull off that look.” "Actually, his finely sculptured physique would be considered the perfect complement for this type of anatomically revealing attire which accentuates his—” “Bloody hell, Jayden, shut it!” “Dude, this is so not right.” “I feel like it’s looking at me.” “Feel like what’s looking at—? Oh. Oh! Ugh, now I feel like it’s looking at me too.” “How can it be looking at both of us?” “Are you serious?” “I’m gonna be sick.” “Someone please gouge out my eyes.

I love to draw—pencil, ink pen—I love art. When I go on tour and visit museums in Holland, Germany or England—you know those huge paintings?—I’m just amazed. You don’t think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it.

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

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

I have come more and more to the belief that we owe our arts a thousand times what we are paying them. We support our cigarette factories, soap manufacturers, beauticians, all the luxury and pleasure businesses of our over-indulged civilization, but we pay our painters an average wage... and yet when the future digs us from the past they won't care how we smell, what we smoke, or if we bathed. All they’ll know of us will be our architecture, our paintings, sculpture, poems, laws, philosophy, drama, our pottery and fabrics, the things which our hands made and our minds thought up - oh, the machines they’ll dig up too, but perhaps they’ll point to them as our destruction, the wheels that drove us down to death.

But you're dead inside to me, you're cold and beyond my reach! It is as if I'm not here, beside you. And, not being here with you, I have the dreadful feeling that I don't exist at all. And you are as cold and distant from me as those strange modern paintings of lines and hard forms that I cannot love or comprehend, as alien as those hard mechanical sculptures of this age which have no human form. I shudder when I'm near you. I look into your eyes and my reflection isn't there . . . .

Writing, music, sculpting, painting, and prayer! These are the three things that are most closely related! Writers, musicians, sculptors, painters, and the faithful are the ones who make things out of nothing. Everybody else, they make things out of something, they have materials! But a written work can be done with nothing, it can begin in the soul! A musical piece begins with a harmony in the soul, a sculpture begins with a formless, useless piece of rock chiseled and formed and molded into the thing that was first conceived in the sculptor's heart! A painting can be carried inside the mind for a lifetime, before ever being put onto paper or canvass! And a prayer! A prayer is a thought, a remembrance, a whisper, a communion, that is from the soul going to what cannot be seen, yet it can move mountains! And so I believe that these five things are interrelated, these five kinds of people are kin.

[...] Thus the sedentary peoples create the plastic arts (architecture, sculpture, painting), the arts consisting of forms developed in space; the nomads create the phonetic arts (music, poetry), the arts consisting of forms unfolded in time; for, let us say it again, all art is in its origin essentially symbolical and ritual, and only through a late degeneration, indeed a very recent degeneration, has it lost its sacred character so as to become at last the purely profane 'recreation' to which it has been reduced among our contemporaries.

And it should feel good to hear her music, it should feel right. After all, she has gone to visit pieces of her art so many times. But they were only pieces, stripped of context. Sculptured birds on marble plinths, and paintings behind ropes. Didactic boxes taped to whitewashed walls and glass boxes that keep the present from the past. It is a different thing when the glass breaks. It is her mother in the doorway, withered to bone. It is Remy in the Paris salon. It is Sam, inviting her to stay, every time. It is Toby Marsh, playing their song. The only way Addie knows how to keep going is to keep going forward. They are Orpheus, she is Eurydice, and every time they turn back, she is ruined.

Prose is an art form, movies and acting in general are art forms, so is music, painting, graphics, sculpture, and so on. Some might even consider classic games like chess to be an art form. Video games use elements of all of these to create something new. Why wouldn't video games be an art form?

I hope, too, that my book will illuminate my belief that love of art-be it poetry, storytelling, painting, sculpture, or music-enables people to transcend any barrier man has yet devised.

It was all here for me, just as it has all been here for you, the best and the worst of Western Civilization, if you cared to pay attention: music, finance, government, architecture, law and sculpture and painting, history and medicine and athletics and every sort of science, and books, books, books, and teachers and role models. People so smart you can’t believe it, and people so dumb you can’t believe it. People so nice you can’t believe it, and people so mean you can’t believe it.

Dr Sass…maintained that in paradise, until the time of the fall, the whole world was flat, the back-curtain of the Lord, and that it was the devil who invented a third dimension. Thus are the words ‘straight’, ‘square’, and ‘flat’ the words of noblemen, but the apple was an orb, and the sin of our first parents, the attempt at getting around God. I myself much prefer the art of painting to sculpture

Love is fragile at best and often a burden or something that blinds us. It's fodder for poets and song writers and they build it into something beyond human capacity. Falling in love means enrolling yourself in the school of disappointment. Being human means failing each other often, and no two people fail each other more than two people who pledge to do things for each other that they'll never do because they are just incapable of it...That's why art is enduring. The look of love or hope, or the look of compassion, bravery, whatever, is captured forever. We spend our lives trying to get someone to be as enduring as a painting or a sculpture and we can't because feelings crumble as quickly as the flesh.

[L]et us not overlook the further great fact, that not only does science underlie sculpture, painting, music, poetry, but that science is itself poetic. The current opinion that science and poetry are opposed is a delusion. ... On the contrary science opens up realms of poetry where to the unscientific all is a blank. Those engaged in scientific researches constantly show us that they realize not less vividly, but more vividly, than others, the poetry of their subjects. Whoever will dip into Hugh Miller's works on geology, or read Mr. Lewes's “Seaside Studies,” will perceive that science excites poetry rather than extinguishes it. And whoever will contemplate the life of Goethe will see that the poet and the man of science can co-exist in equal activity. Is it not, indeed, an absurd and almost a sacrilegious belief that the more a man studies Nature the less he reveres it? Think you that a drop of water, which to the vulgar eye is but a drop of water, loses anything in the eye of the physicist who knows that its elements are held together by a force which, if suddenly liberated, would produce a flash of lightning? Think you that what is carelessly looked upon by the uninitiated as a mere snow-flake, does not suggest higher associations to one who has seen through a microscope the wondrously varied and elegant forms of snow-crystals? Think you that the rounded rock marked with parallel scratches calls up as much poetry in an ignorant mind as in the mind of a geologist, who knows that over this rock a glacier slid a million years ago? The truth is, that those who have never entered upon scientific pursuits know not a tithe of the poetry by which they are surrounded. Whoever has not in youth collected plants and insects, knows not half the halo of interest which lanes and hedge-rows can assume. Whoever has not sought for fossils, has little idea of the poetical associations that surround the places where imbedded treasures were found. Whoever at the seaside has not had a microscope and aquarium, has yet to learn what the highest pleasures of the seaside are. Sad, indeed, is it to see how men occupy themselves with trivialities, and are indifferent to the grandest phenomena—care not to understand the architecture of the universe, but are deeply interested in some contemptible controversy about the intrigues of Mary Queen of Scots!—are learnedly critical over a Greek ode, and pass by without a glance that grand epic... upon the strata of the Earth!

What is the place of art in the Christian life? Is art- especially the fine arts- simply a way to bring worldliness in through the back door? What about sculpture or drama, music or painting? Do these have any place in the Christian life? Shouldn't a Christian focus his gaze steadily on "religious things" alone and forget about art and culture? As evangelical Christians, we have tended to relegate art to the very fringe of life. The rest of human life we feel is more important. Despite our constant talk about the lordship of Christ, we have narrowed its scope to a very small area of reality. We have misunderstood the concept of the lordship of Christ over the whole man and the whole of the universe and have not taken to us the riches that the Bible gives us for ourselves, for our lives, and for our culture. The lordship of Christ over the whole of life means that there are no platonic areas in Christianity, no dichotomy or hierarchy between the body and the soul. God made the body as well as the soul, and redemption is for the whole man.

... sculpture bore the relationship the truth did to falsehood... if a painter blundered, what did he do? He patched and repaired and covered over with another layer of paint. The sculptor on the contrary had to see within th marble the form that it held. He could not glue back broken parts.

They went to Italy. Neither of them cared in the smallest degree for sculpture, architecture, painting, archaeology, poetry, history, politics, scenery, languages, or foreigners.

There's so many dimensions to me. I am not a flat surface that can express myself like a painting, but more like a sculpture that you have to see all of before you can understand.

Freud revelled in linguistic play, but, despite his appreciation of painting and especially sculpture, he did not know what to make of visual imagery in dreams.

That was the price of human civilization—to create it, they had to close the door on their true selves. And so they are lost, that is how I understand it. And that is why they invented art: books, music, films, plays, painting, sculpture. They invented them as bridges back to themselves, back to who they are.

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

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

Fiction, like sculpture or painting, begins with a rough sketch. One gets down the characters and their behavior any way one can, knowing the sentences will have to be revised,knowing the characters' actions may change. It makes no difference how clumsy the sketch is—sketches are not supposed to be polished and elegant. All that matters is that, going over and over the sketch as if one had all eternity for finishing one's story, one improves now this sentence, now that, noticing what changes the new sentences urge, and in the process one gets the characters and their behavior clearer in one's head, gradually discovering deeper and deeper implications of the characters' problems and hopes.

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

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

Literature, although it stands apart by reason of the great destiny and general use of its medium in the affairs of men, is yet an art like other arts. Of these we may distinguish two great classes: those arts, like sculpture, painting, acting, which are representative, or as used to be said very clumsily, imitative; and those, like architecture, music, and the dance, which are self-sufficient, and merely presentative.

The arts which need interpretation are the arts of time -- music and poetry -- and not the arts of space -- sculpture and painting.

Cultures are like books, the anthropologist Claude Lévi-Strauss once remarked, each a volume in the great library of humankind. In the sixteenth century, more books were burned than ever before or since. How many Homers vanished? How many Hesiods? What great works of painting, sculpture, architecture, and music vanished or never were created? Languages, prayers, dreams, habits, and hopes—all gone.

I do not sculpt and paint to make the world sacred. I sculpt and paint to give permanence to my feelings about how terrible the world truly is. Nothing is real to me except my own feelings; nothing is true except my own feelings as I see them all around me in my sculptures and paintings. I know these feelings are true, because if they were not true they would make art that is as terrible as the world.

As Solomon himself had remarked, 'We can be sure of talent, we can only pray for genius.' But it was a reasonable hope that in such concentrated society some interesting reactions would take place. Few artists thrive in solitude and nothing is more stimulating than the conflict of minds with similar interests. So far, the conflict had produced worthwhile results in sculpture, music, literary criticism and film making. It was still too early to see if the group working on historical research would fulfil the hopes of its instigators, who were frankly hoping to restore mankind's pride in its own achievements. Painting still languished which supported the views of those who considered that static, two dimensional forms of art had no further possibilities. It was noticeable, though a satisfactory explanation for this had not yet been produced that time played an essential part in the colony's achievements.

Writing is not like painting where you add. It is not what you put on the canvas that the reader sees. Writing is more like a sculpture where you remove, you eliminate in order to make the work visible. Even those pages you remove somehow remain. There is a difference between a book of two hundred pages which is the result of an original eight hundred pages. The six hundred pages are there. Only you don't see them.

There is no such thing as art," he said. "There is only this painting, this piece of music, that sculpture. And it either resonates with you or it doesn't." He paused for a moment and then added, "There is no such thing as art, there are only works." ... In those two moments, Antonioni taught me something profound.

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

All art involves conscious discipline. If one is going to paint, do sculpture, design a building or write a book, it will involve discipline in time and energy — or there would never be any production at all to be seen, felt or enjoyed by ourselves or others. To develop ‘Hidden Art’ will also, of course, take time and energy – and the balance of the use of time is a constant individual problem for all of us: what to do, and what to leave undone. One is always having to neglect one thing in order to give precedence to something else. The question is one of priorities” (p. 32).

Iman has said, “What I love about David is that he’s a true gentleman, very old fashioned and English. He never lets me walk on the outside of the pavement, opens doors for me, and because we met on the fourteenth, he sends me flowers on the fourteenth of every month. He’s a scholar too—he reads a lot, writes, does sculpture and paints, so I’ve learned so much from him.

All art involves conscious discipline. If one is going to paint, do sculpture, design a building or write a book, it will involve discipline in time and energy- or there would never be any production at all to be seen, felt or enjoyed by ourselves or others... the balance of the use of time is a constant individual problem for all of us: what to do, what to leave undone. One is always having to neglect one thing in order to give precedence to something else. The question is one of priorities.

In theoretical, metaphorical terms, the idea I began to explore was this one: that teaching is nothing like the art of painting, where, by the addition of material to a surface, an image is synthetically produced, but more like the art of sculpture, where, by the subtraction of material, an image already locked in the stone is enabled to emerge. It is a crucial distinction.

I see, in place of that empty figment of one linear history which can be kept up only by shutting one’s eyes to the overwhelming multitude of facts, the drama of a number of mighty Cultures, each springing with primitive strength from the soil of a mother-region to which it remains firmly bound throughout it’s whole life-cycle; each stamping its material, its mankind, in its own image; each having its own idea, its own passions, its own life, will and feelings, its own death. Here indeed are colours, lights, movements, that no intellectual eye has yet discovered. Here the Cultures, peoples, languages, truths, gods, landscapes bloom and age as the oaks and the pines, the blossoms, twigs and leaves - but there is no ageing “Mankind.” Each Culture has its own new possibilities of self-expression which arise, ripen, decay and never return. There is not one sculpture, one painting, one mathematics, one physics, but many, each in the deepest essence different from the others, each limited in duration and self-contained, just as each species of plant has its peculiar blossom or fruit, its special type of growth and decline.

In the twentieth century, science has been everything and the arts almost nothing by comparison. As a result, many artists now pretend to be scientists. They try to imitate the strategies of science. Paintings that talk. Sculpture that swims. Books that turn to ash. New formulas just like the scientist. But that isn't science of course, nor is it art. Just the end of the road.

In fact, if a museum were filled with all of the world's stolen artworks, it would be the most impressive collection ever created. It would have far more Baroque sculptures, much better Surrealist paintings, and the best Greek antiquities of any known institution. A gallery of stolen art would make the Louvre seem like a small-town gallery in comparison. Experts call it the Lost Museum.

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.

Then it will be in our power to understand how contemptible are the things we admire – like children who regard every toy as a thing of value, who cherish necklaces bought at the price of a mere penny as more dear than their parents or than their brothers. And what, then, as Aristo says, is the difference between ourselves and these children, except that we elders go crazy over paintings and sculpture, and that our folly costs us dearer?

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

Nude paintings and sculptures are called "art" only in the museums.. Outside of the museums, It is "Absurdity" and "Vulgarity". To respect your own creative talent and the prosperity of your "art", let only the Gurus critique, suggest and guide you; don't let your work be affected by others' choices and understandings.

Let us not overlook the further great fact, that not only does science underlie sculpture, painting, music, poetry, but that science is itself poetic.… Those engaged in scientific researches constantly show us that they realize not less vividly, but more vividly, than others, the poetry of their subjects. —HERBERT SPENCER

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

Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect. But now and then a complex personality took the place and assumed the office of art; was indeed, in its way, a real work of art, Life having its elaborate masterpieces, just as poetry has, or sculpture, or painting.

Theophilus Crowe wrote bad free-verse poetry and played a jimbai drum while sitting on a rock by the ocean. He could play sixteen chords on the guitar and knew five Bob Dylan songs all the way through, allowing for a dampening buzz any time he had to play a bar chord. He had tried his hand at painting, sculpture, and pottery and had even played a minor part in the Pine Cove Little Theater’s revival of Arsenic and Old Lace. In all of these endeavors, he had experienced a meteoric rise to mediocrity and quit before total embarrassment and self-loathing set in. Theo was cursed with an artist’s soul but no talent. He possessed the angst and the inspiration, but not the means to create.

He was conscious—and the thought brought a gleam of pleasure into his brown agate eyes—that it was through certain words of his, musical words said with musical utterance, that Dorian Gray's soul had turned to this white girl and bowed in worship before her. To a large extent the lad was his own creation. He had made him premature. That was something. Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect. But now and then a complex personality took the place and assumed the office of art, was indeed, in its way, a real work of art, life having its elaborate masterpieces, just as poetry has, or sculpture, or painting.

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

Indeed, very few people are aware that in each of our fingers, located somewhere between the first phalange, the mesophalange, and the metaphalange, there is a tiny brain. The fact is that the other organ which we call the brain, the one with which we came into the world, the one which we transport around in our head and which transports us so that we can transport it, has only ever had very general, vague, diffuse and, above all, unimaginative ideas about what the hands and fingers should do. For example, if the brain-in-our-head suddenly gets an idea for a painting, a sculpture, a piece of music or literature, or a clay figurine, it simply sends a signal to that effect and then waits to see what will happen

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

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

The ancient canyon art of Utah belongs in that same international museum without walls which makes African sculpture, Melanesian masks, and the junkyards of New Jersey equally interesting—those voices of silence which speak to us in the first world language. As for the technical competence of the artists, its measure is apparent in the fact that these pictographs and petroglyphs though exposed to the attack of wind, sand, rain, heat, cold and sunlight for centuries still survive vivid and clear. How much of the painting and sculpture being done in America today will last—in the merely physical sense—for even a half-century?

Art is central to all our lives, not just the better-off and educated. . . I know that from my own story, and from the evidence of every child ever born — they all want to hear and to tell stories, to sing, to make music, to act out little dramas, to paint pictures, to make sculptures. This is born in and we breed it out. And then, when we have bred it out, we say that art is elitist, and at the same time we either fetishize art — the high prices, the jargon, the inaccessibility — or we ignore it. The truth is, artist or not, we are all born on the creative continuum, and that is a heritage and a birthright of all of our lives.

I'm pulled, pushed and then I find my back against a wall. Eagan's taut frame is bent toward mine, and my body is arched toward his. We create a peculiar sculpture of opposite forces. He cups my face in his palms and makes me look up at him. His lips are so close to mine, that I feel the whisper of his breath against my mouth; I smell mint and a hint of beer. I desire a kiss so desperately, my body is humming with longing. I curl my fingers around his wrists. “I hate fighting with you,” he admits huskily. “I know. Me too.” “I need to hold you.” I nod and let him fold his arms around me. I bury my face against his chest and utter soft sounds of contentment as his warmth leaks into my skin. I glance at our shadows painted on the gravel by darkness and streetlights; we're not opposite forces any longer, we're one single being. ("A Veil of Glass and Rain")

Sunday “Well then, as I have just told you, they devoted each day of the week to productions in one or another special branch of knowledge—either works of their hands, or some other form of consciously designed being-manifestation “Thus, Monday was devoted to the first group, and this day was called the ‘day of religious and civil ceremonies’, “Tuesday was allotted to the second group, and was called the ‘day of architecture’, “Wednesday was called the ‘day of painting’, “Thursday, the ‘day of religious and popular dances’, “Friday, the ‘day of sculpture’, “Saturday, the ‘day of the mysteries’ or, as it was also called, the ‘day of the theater’, “Sunday, the ‘day of music and song

Your life is like a car which moves sometimes with jerks caused by the dirt in its gas as if it has hiccups. That’s ordinarily how you live – piecemeal. Your energy moves in fits and starts, bit by bit, it never comes to an integrated whole. It’s a matter of utilizing your full energy – in anything. For example, if you are a painter and if you were to devote your entire energy into painting a picture – without holding back even a bit – you will attain liberation there and then. Such application of total energy is udyama. As soon as the circuit is complete, you become bhairava. If you are a sculptor and have poured into your sculpture all that you have – so much so that only the sculpture remains, you disappear – the energy circuit completes. So when you use your total energy in any work – it becomes meditation. Then the bhairava is close, the temple is nearby.

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

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

Why do you choose to write about such gruesome subjects? I usually answer this with another question: Why do you assume that I have a choice? Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions “hobbies.” Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because “hobby” is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies “the arts.” Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call “the arts”; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.

Above all, he encourages her to paint, nodding with approval at even her most unusual experiments with color, light, rough brushwork [...]. She explains to him that she believes painting should reflect nature and life [...]. He nods, although he adds cautiously that he wouldn't want her to know too much about life - nature is a fine subject, but life is grimmer than she can understand. He thinks it is good for her to have something satisfying to do at home; he loves art himself; he sees her gift and wants her to be happy. He knows the charming Morisots. He has met the Manets, and always remarks that they are a good family, despite Édouard's reputation and his immoral experiments (he paints loose women), which make him perhaps too modern - a shame, given his obvious talent. In fact, Yves takes her to many galleries. They attend the Salon every year, with nearly a million other people, and listen to the gossip about favorite canvases and those critics disdain. Occasionally they stroll in the museums in the Louvre, where she sees art students copying paintings and sculpture, even an unchaperoned woman here and there (surely Americans). She can't quite bring herself to admire nudes in his presence, certainly not the heroic males; she knows she will never paint from a nude model herself. Her own formal training was in the private studios of an academican, copying from plaster casts with her mother present, before she married.

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

At first Christ was a man – nothing more. Mary was his mother, Joseph his father. The genealogy of his father, Joseph, was given to show that he was of the blood of David. Then the claim was made that he was the son of God, and that his mother was a virgin, and that she remained a virgin until her death. The claim was made that Christ rose from the dead and ascended bodily to heaven. It required many years for these absurdities to take possession of the minds of men. If he really ascended, why did he not do so in public, in the presence of his persecutors? Why should this, the greatest of miracles, be done in secret, in a corner? Is Christ our example? He never said a word in favor of education. He never even hinted at the existence of any science. He never uttered a word in favor of industry, economy or of any effort to better our condition in this world. He was the enemy of the successful, of the wealthy. Dives was sent to hell, not because he was bad, but because he was rich. Lazarus went to heaven, not because he was good, but because he was poor. Christ cared nothing for painting, for sculpture, for music – nothing for any art. He said nothing about the duties of nation to nation, of king to subject; nothing about the rights of man; nothing about intellectual liberty or the freedom of speech. He said nothing about the sacredness of home; not one word for the fireside; not a word in favor of marriage, in honor of maternity. He never married. He wandered homeless from place to place with a few disciples. None of them seem to have been engaged in any useful business, and they seem to have lived on alms. All human ties were held in contempt; this world was sacrificed for the next; all human effort was discouraged. God would support and protect. At last, in the dusk of death, Christ, finding that he was mistaken, cried out: “My God! My God! Why hast thou forsaken me? We have found that man must depend on himself. He must clear the land; he must build the home; he must plow and plant; he must invent; he must work with hand and brain; he must overcome the difficulties and obstructions; he must conquer and enslave the forces of nature to the end that they may do the work of the world.

Of course, the champions of totalitarianism protest that what they want to abolish is "only economic freedom" and that all "other freedoms" will remain untouched. But freedom is indivisible. The distinction between an economic sphere of human life and activity and a noneconomic sphere is the worst of their fallacies. If an omnipotent authority has the power to assign to every individual the tasks he has to perform, nothing that can be called freedom and autonomy is left to him. He has only the choice between strict obedience and death by starvation.1 Committees of experts may be called to advise the planning authority whether or not a young man should be given the opportunity to prepare himself for and to work in an intellectual or artistic field. But such an arrangement can merely rear disciples committed to the parrotIike repetition of the ideas of the preceding generation. It would bar innovators who disagree with the accepted ways of thought. No innovation would ever have been accomplished if its originator had been in need of an authorization by those from whose doctrines and methods he wanted to deviate. Hegel would not have ordained Schopenhauer or Feuerbach, nor would Professor Rau have ordained Marx or Carl Menger. If the supreme planning board is ultimately to determine which books are to be printed, who is to experiment in the laboratories and who is to paint or to sculpture, and which alterations in technological methods should be undertaken, there will be neither improvement nor progress. Individual man will become a pawn in the hands of the rulers, who in their "social engineering" will handle him as engineers handle the stuff of which they construct buildings, bridges, and machines. In every sphere of human activity an innovation is a challenge not only to ali routinists and to the experts and practitioners of traditional methods but even more to those who have in the past themselves been innovators. It meets at the beginning chiefly stubborn opposition. Such obstacles can be overcome in a society where there is economic freedom. They are insurmountable in a socialist system.

The forest reveals what was in the seed. The hen reveals what was in the egg. The storm reveals what was in the clouds. The light reveals what was in the star. The perfume reveals what was in the flower. The honey reveals what was in the bee. The fruit reveals what was in the tree. The rose reveals what was in the thorn. The web reveals what was in the spider. The butterfly reveals what was in the caterpillar. The venom reveals what was in the serpent. The pearl reveals what was in the oyster. The diamond reveals what was in the rock. The flame reveals what was in the spark. The nest reveals what was in the bird. The roar reveals what was in the lion. The leaf reveals what was in the plant. The fire reveals what was in the wood. The droplet reveals what was in the ocean. The rainbow reveals what was in the storm. The ocean reveals what was in the shark. The desert reveals what was in the camel. The sky reveals what was in the eagle. The jungle reveals what was in the elephant. The team reveals what was in the coach. The flock reveals what was in the shepherd. The crew reveals what was in the captain. The army reveals what was in the general. The tower reveals what was in the architect. The sculpture reveals what was in the sculptor. The painting reveals what was in the painter. The symphony reveals what was in the composer. The sensation reveals what was in the body. The tongue reveals what was in the mind. The action reveals what was in the heart. The character reveals what was in the soul. Spring reveals what was in winter. Summer reveals what was in spring. Autumn reveals what was in summer. Summer reveals what was in spring. The past reveals what was in the beginning. The present reveals what was in the past. The future reveals what was in the present. The afterlife reveals what was in the future.

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

Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism." "I'm sorry. I don't know what that is." "I don't either," Bunny would say brokenly. "Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see." He would resume pacing. "Donne. Walton. Metahemeralism. That's the problem as I see it." "Bunny, I don't think "metahemeralism" is even a word." "Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe." "Is it in the dictionary?" "Dunno. Don't know how to spell it. I mean" — he made a picture frame with his hands — "the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?" And so it would go on, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. "This is a nice paper, Bun — ," Charles said cautiously. "Thanks, thanks." "But don't you think you ought to mention John Donne more often? Wasn't that your assignment?" "Oh, Donne," Bunny had said scoffingly. "I don't want to drag him into this." Henry had refused to read it. "I'm sure it's over my head, Bunny, really," he said, glancing over the first page. "Say, what's wrong with this type?" "Tripled spaced it," said Bunny proudly. "These lines are about an inch apart." "Looks kind of like free verse, doesn't it?" Henry made a funny little snorting noise through his nose. "Looks kind of like a menu," he said. All I remember about the paper was that it ended with the sentence "And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.

Do you condemn the kids for not having been blessed with I.Q.s of 120? Can you condemn the kids? Can you condemn anyone? Can you condemn the colleges that give all you need to pass a board of education examination? Do you condemn the board of education for not making the exams stiffer, for not boosting the requirements, for not raising salaries, for not trying to attract better teachers, for not making sure their teachers are better equipped to teach? Or do you condemn the meatheads all over the world who drift into the teaching profession drift into it because it offers a certain amount of paycheck every month security ,vacation-every summer luxury, or a certain amount of power , or a certain easy road when the other more difficult roads are full of ruts? Oh he’d seen the meatheads, all right; he’d seen them in every education class he’d ever attended. The simpering female idiots who smiled and agreed with the instructor, who imparted vast knowledge gleaned from profound observations made while sitting at the back of the classroom in some ideal high school in some ideal neighborhood while an ideal teacher taught ideal students. Or the men who were perhaps the worst, the men who sometimes seemed a little embarrassed, over having chosen the easy road, the road the security, the men who sometimes made a joke about the women not realizing they themselves were poured from the same streaming cauldron of horse manure. Had Rick been one of these men? He did not believe so…. He had wanted to teach, had honestly wanted to teach. He had not considered the security or the two-month vacation, or the short tours. He had simply wanted to teach, and he had considred taeaching a worth-while profession. He had, in fact, considered it the worthiest profession. He had held no illusions about his own capabilities. He could not paint, or write, or compose, or sculpt, or philopshize deeply, or design tall buildings. He could contribute nothing to the world creatively and this had been a disappointment to him until he’d realized he could be a big creator by teaching. For here were minds to be sculptured, here were ideas to be painted, here were lives to shape. To spend his allotted time on earth as a bank teller or an insurance salesman would have seemed an utter waste to Rick. Women, he had reflected had no such problem. Creation had been given to them as a gift and a woman was self-sufficient within her own creative shell. A man needed more which perhaps was one reason why a woman could never understand a man’s concern for the job he had to do.