Should Titles Of Paintings Be In Quotes

Not that I mean the least fling against men who have won a great fleet action - it is right and proper that THEY should be peers - but when you look at the mass of titles, tradesmen, dirty politicians, moneylenders...why, I had as soon be plain Jack Aubrey - Captain Jack Aubrey, for I am as proud as Nebuchadnezzar of my service rank, and if ever I hoist my flag, I shall paint HERE LIVES ADMIRAL AUBREY on the front of Ashgrove Cottage in huge letters.

If a man is called to be a street sweeper, he should sweep streets as Michelangelo painted or Beethoven composed music, or Shakespeare poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, “Here lived a great street sweeper who did his job well.

If a man is called to be a street sweeper, he should sweep streets as Michelangelo painted or Beethoven composed music, or Shakespeare poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, “Here lived a great street sweeper who did his job well.” —DR. MARTIN LUTHER KING JR.

The Little Ship Have your forgotten the ship love I made as a childish toy, When you were a little girl love, And I was a little boy?   Ah! never in all the fleet love Such a beautiful ship was seen, For the sides were painted blue love And the deck was yellow and green.   I carved a wonderful mast love From my Father’s Sunday stick, You cut up your one good dress love That the sail should be of silk.   And I launched it on the pond love And I called it after you, And for the want of the bottle of wine love We christened it with the dew.   And we put your doll on board love With a cargo of chocolate cream, But the little ship struck on a cork love And the doll went down with a scream!   It is forty years since then love And your hair is silver grey, And we sit in our old armchairs love And we watch our children play.   And I have a wooden leg love And the title of K. C. B. For bringing Her Majesty’s Fleet love Over the stormy sea.   But I’ve never forgotten the ship love I made as a childish toy When you were a little girl love And I was a sailor boy.

Perhaps. But let us not forget that while Alicia Berenson may be a murderer, she was also an artist. It makes perfect sense—to me at least—that she should pick up her brushes and paints and express her complicated emotions on canvas. No wonder that, for once, painting came to her with such ease; if grief can be called easy. The painting was a self-portrait. She titled it in the bottom left-hand corner of the canvas, in light blue Greek lettering. One word: Alcestis.

I WANT TO end this list by talking a little more about the founding of Pixar University and Elyse Klaidman’s mind-expanding drawing classes in particular. Those first classes were such a success—of the 120 people who worked at Pixar then, 100 enrolled—that we gradually began expanding P.U.’s curriculum. Sculpting, painting, acting, meditation, belly dancing, live-action filmmaking, computer programming, design and color theory, ballet—over the years, we have offered free classes in all of them. This meant spending not only the time to find the best outside teachers but also the real cost of freeing people up during their workday to take the classes. So what exactly was Pixar getting out of all of this? It wasn’t that the class material directly enhanced our employees’ job performance. Instead, there was something about an apprentice lighting technician sitting alongside an experienced animator, who in turn was sitting next to someone who worked in legal or accounting or security—that proved immensely valuable. In the classroom setting, people interacted in a way they didn’t in the workplace. They felt free to be goofy, relaxed, open, vulnerable. Hierarchy did not apply, and as a result, communication thrived. Simply by providing an excuse for us all to toil side by side, humbled by the challenge of sketching a self-portrait or writing computer code or taming a lump of clay, P.U. changed the culture for the better. It taught everyone at Pixar, no matter their title, to respect the work that their colleagues did. And it made us all beginners again. Creativity involves missteps and imperfections. I wanted our people to get comfortable with that idea—that both the organization and its members should be willing, at times, to operate on the edge. I can understand that the leaders of many companies might wonder whether or not such classes would truly be useful, worth the expense. And I’ll admit that these social interactions I describe were an unexpected benefit. But the purpose of P.U. was never to turn programmers into artists or artists into belly dancers. Instead, it was to send a signal about how important it is for every one of us to keep learning new things. That, too, is a key part of remaining flexible: keeping our brains nimble by pushing ourselves to try things we haven’t tried before. That’s what P.U. lets our people do, and I believe it makes us stronger.

He spent the last four years of his life there engaged in practice of Zazen (meditation), painting, and joining tea ceremonies and poetry gatherings with the domain’s elite. Many of Musashi’s famous ink paintings were created during this period of intense personal reflection. By this time, Japan had become politically stable and war was now a distant memory. Musashi, being among the last generations who had personally experienced conflict, sensed that samurai were losing their sense of identity. He resolved to make a pilgrimage to Reigandō Cave43 in 1643 and started writing Gorin-no-sho there, hoping to preserve for posterity his Way, and what he believed to be the very essence of warriorship. A year later he fell ill, and the domain elders encouraged him to return to Kumamoto to be cared for. He continued working on his treatise for five or six months. On the twelfth day of the fifth month of 1645, he passed the not quite finished manuscript to his student Magonojō. He gave away all his worldly possessions, and then wrote Dokkōdō, a brief list of twenty-one precepts that summed up his principles shaped over a lifetime of austere training. He died on the nineteenth day of the fifth month of 1645. It is said that he had taken ill with “dysphagia,” which suggests perhaps that he had terminal stomach cancer. Some say he died of lung cancer. In Bukōden, it is recorded that Musashi was laid in his coffin dressed in full armor and with all his weapons. It evokes a powerful image of a man who had dedicated his whole life to understanding the mind of combat and strategy. As testament once again to the conspiracy theories surrounding Musashi’s life, I am reminded of a bizarre book titled Was Musashi Murdered and Other Questions of Japanese History by Fudo Yamato (Zensho Communications, 1987). In it the author postulates that Musashi’s death was actually assassination through poisoning. The author argues that Musashi and many of his contemporaries such as the priest Takuan, Hosokawa Tadaoki (Tadatoshi’s father) who was suspected of “Christian sympathies,” and even Yagyū Munenori were all viewed with suspicion by the shogunate. He goes so far as to hypothesize that the phrase found at the end of Musashi’s Combat Strategy in 35 Articles “Should there be any entries you are unsure of, please allow me to explain in person…” was actually interpreted by the government as a call for those with anti-shogunate sentiments to gather in order to hatch a seditious plot (p. 20). This is why, Fudo Yamato argues, Musashi and these other notable men of his age all died mysteriously at around the same time.