Textured Canvas Quotes

Every brush stroke on the canvas, every dab of color introduced, the fine textures impressed in the paint—this accumulation of many small acts combines to shape a final work of art.  And so it is with life; each step, each deed, each brief choice builds gradually, day by day, to shape both character and destiny.

Slowly what she composed with the new day was her own focus, to bring together body and mind. This was made with an effort, as if all the dissolutions and dispersions of her self the night before were difficult to reassemble. She was like an actress who must compose a face, an attitude to meet the day. The eyebrow pencil was no mere charcoal emphasis on blond eyebrows, but a design necessary to balance a chaotic asymmetry. Make up and powder were not simply applied to heighten a porcelain texture, to efface the uneven swellings caused by sleep, but to smooth out the sharp furrows designed by nightmares, to reform the contours and blurred surfaces of the cheeks, to erase the contradictions and conflicts which strained the clarity of the face’s lines, disturbing the purity of its forms. She must redesign the face, smooth the anxious brows, separate the crushed eyelashes, wash off the traces of secret interior tears, accentuate the mouth as upon a canvas, so it will hold its luxuriant smile. Inner chaos, like those secret volcanoes which suddenly lift the neat furrows of a peacefully ploughed field, awaited behind all disorders of face, hair, and costume, for a fissure through which to explode. What she saw in the mirror now was a flushed, clear-eyed face, smiling, smooth, beautiful. The multiple acts of composure and artifice had merely dissolved her anxieties; now that she felt prepared to meet the day, her true beauty emerged which had been frayed and marred by anxiety.

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

The Bible makes it clear that every time that there is a story of faith, it is completely original. God's creative genius is endless. He never, fatigued and unable to maintain the rigors of creativity, resorts to mass-producing copies. Each life is a fresh canvas on which he uses lines and colors, shades and lights, textures and proportions that he has never used before. We see what is possible: anyone and everyone is able to live a zestful life that spills out of the stereotyped containers that a sin-inhibited society provides. Such lives fuse spontaneity and purpose and green the desiccated landscape with meaning. And we see how it is possible: by plunging into a life of faith, participating in what God initiates in each life, exploring what God is doing in each event.

She had built her restaurant kitchen out of scents and tastes and textures, the clean canvas of a round white dinner plate, the firm skins of pears and the generosity of soft cheeses, the many-colored spices sitting in glass jars along the open shelves like a family portrait gallery. She belonged there.

Having studied art history, as opposed to political history, I tend to incorporate found objects into my books. Just as Pablo Picasso glued a fragment of furniture onto the canvas of Still Life with Chair Caning, I like to use whatever's lying around to paint pictures of the past--traditional pigment like archival documents but also the added texture of whatever bits and bobs I learn from looking out bus windows or chatting up people I bump into on the road.

not despise the wisdom of childhood.” The words of the Book of Bédard flashed unbidden through his mind. “Childhood is a canvas, pure in its innocence, awaiting the brush of experience. In time, that canvas will become the portrait of a life and the growth of a living soul. But that portrait may be rich with color, filled with the texture of joy, or gray and ugly, shrouded in the bleakness of despair. It is your responsibility to guide that brush as God would have it guided. Nor will the guiding leave your life, your faith, unchanged, for a child’s eyes see what adults do not. A child’s gaze is unblinkered by preconception, and children have not learned to look willfully away from truth. Do not be deceived! That searching gaze, those fearless questions, are God’s gift to you. A child’s questions require answer; answer requires explanation; explanation requires thought; and thought requires understanding, and so even as they ask, they teach. Learn from them, treasure the opportunity God has given you, and remember always that whenever one teaches, two learn, and there is no greater joy than to learn together.” His

Aren’t you going to ask me what kind of boat I own?” he asked. “Sure. What kind of boat do you own?” “A sailboat.” “That’s nice. The coals are ready. I’ll just dab some herb butter on the swordfish and we’ll be eating in no time.” Travis shook his head at Cat’s lack of interest in the possibilities of sailing with him. “Are you sure you like sailing?” he asked. “I love the ocean,” Cat said as she spread a sheen of butter over the swordfish. “I don’t know beans about rag sailing. So if you’re one of those avid sailors who expects me to care about sloops and catamarans and jibs and the six thousand boring shapes of canvas you can hang from masts, you’re going to be one disappointed puppy.” Travis smiled ruefully. “I learned a long time ago that my love of wind, sail, and water isn’t something most people give a damn about.” “Like me and photography. I could go on for hours about light and texture, shape and weight and shadow and—Get the door for me, would you?” He opened the door and followed Cat out to the back deck. Her hands were full of fresh swordfish. His eyes approved her unconscious grace as she bent over the grill. “But I’m more than willing to listen to you talk about wind and all,” she said without looking up. “I’ll even make soothing noises, as long as there isn’t a pop quiz at the end.” He laughed out loud. “Some other night, maybe. I won’t ask that much of a sacrifice on our first date.

Turning from the dressing table, Cass went to her armoire. Inside, behind all of the neatly folded gowns, was the picture of her that Falco had painted. She pulled it out and carried it over to her bed. As she sat beside it, her fingers tracing the paint’s uneven texture, her heart remembered each moment of the night the painting had been started. The girl on the canvas was a stranger. She looked young and innocent. Delirious with joy. Her eyes were filled with light. “Those were the days, weren’t they?” That voice. Could it be? With her heart trembling and her breath lodged in her throat like a stone, Cass lifted her eyes. It was. “Falco,” she breathed. His bruises from being beaten at de Gradi’s workshop had healed. He looked a little thinner than Cass had remembered, but otherwise the same as the day they had met. Smiling fondly down at the painting, he said, “I’m glad that you kept it.” “How did you--” “Get inside?” He spun around once, and Cass realized he was wearing the blue-and-silver livery of the Querini estate. “You act as if I’ve never done this before.

As I watch [the world],’ wrote Nan Shepherd in 1945, ‘it arches its back, and each layer of landscape bristles.’ It is a brilliant observation about observation. Shepherd knew that ‘landscape’ is not something to be viewed and appraised from a distance, as if it were a panel in a frieze or a canvas in a frame. It is not the passive object of our gaze, but rather a volatile participant – a fellow subject which arches and bristles at us, bristles into us. Landscape is still often understood as a noun connoting fixity, scenery, an immobile painterly decorum.* I prefer to think of the word as a noun containing a hidden verb: landscape scapes, it is dynamic and commotion causing, it sculpts and shapes us not only over the courses of our lives but also instant by instant, incident by incident. I prefer to take ‘landscape’ as a collective term for the temperature and pressure of the air, the fall of light and its rebounds, the textures and surfaces of rock, soil and building, the sounds (cricket screech, bird cry, wind through trees), the scents (pine resin, hot stone, crushed thyme) and the uncountable other transitory phenomena and atmospheres that together comprise the bristling presence of a particular place at a particular moment.

Squinting, he focused with laser-like intensity to see what he could of the corpse below. He marvelled at the kaleidoscope of colours and textures the mangled body had created all over the urban canvas.

To a highly literate and mechanized culture the movie appeared as a world of triumphant illusions and dreams that money could buy. It was at this moment of the movie that cubism occurred, and it has been described by E. H. Gombrich (Art and Illusion) as “the most radical attempt to stamp out ambiguity and to enforce one reading of the picture — that of a man-made construction, a colored canvas.” For cubism substitutes all facets of an object simultaneously for the “point of view” or facet of perspective illusion. Instead of the specialized illusion of the third dimension on canvas, cubism sets up an interplay of planes and contradiction or dramatic conflict of patterns, lights, textures that “drives home the message” by involvement. This is held by many to be an exercise in painting, not in illusion. In other words, cubism, by giving the inside and outside, the top, bottom, back, and front and the rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing on instant total awareness, suddenly announced that the medium is the message. Is it not evident that the moment that the sequence yields to the simultaneous, one is in the world of the structure and of configuration? Is that not what has happened in physics as in painting, poetry, and in communication? Specialized segments of attention have shifted to total field, and we can now say, “The medium is the message” quite naturally.

IThe epiphany in this thought is that we simply cannot and do not create in isolation. As I paint my blank canvas others leave their mark on my masterpiece. Many have added colors and textures I knew not existed, greatly improving my creation..and yet...and yet... There are those who have punctured the fine leather and scraped at the rainbows of my mind ... creating stormy patches where there were once colors beaming from the page.

The epiphany in this thought is that we simply cannot and do not create in isolation. As I paint my blank canvas others leave their mark on my masterpiece. Many have added colors and textures I knew not existed, greatly improving my creation..and yet...and yet... There are those who have punctured the fine leather and scraped at the rainbows of my mind ... creating stormy patches where there were once colors beaming from the page.

what I realized is that Kondo’s philosophy isn’t really minimalism. It’s sanity. After all, we still have plenty of stuff. And now that we can see the things we have, our place actually feels more abundant, not less. That’s because abundance isn’t about just accumulating things. It’s about surrounding yourself with a rich palette of textures that enliven your senses. If true minimalism is like clear-cutting a field, Kondo’s method is like weeding a garden. It’s a process of removing the background noise to create a canvas on which to build a joyful home. Yet it’s also worth remembering that just weeding alone doesn’t create a beautiful garden. You have to plant flowers, too.

In this studio class that I’ve taken, the teacher had a joke that I should take pictures of my paintings, because he would come over, and I would have a painting of a boy, and he would go away, and then an hour later it would be a painting of a tree, then he would go and come back and it would be a painting of a shoe, and it’s still the same canvas. What I would say to him is that I was just trying to build up a surface. What I hate is a white canvas, and I don’t like one layer of paint. I like the texture of it, so the only way to get to that is to keep painting stuff and erasing it, and painting on top of it and struggling with it so the layers would be hidden.

Her imagination arranged the oatcakes, rissoles and dumplings into a still life, and even with complimentary lighting, it was a rather cheerless composition. She found herself wanting to add a single satsuma to the canvas to give it a splash of color and a contrast of texture, a pomegranate, an aubergine, or even a humble tomato. But that wasn't English cooking, was it? She looked at the pile of letters. "We are not a country that cooks in primary colors," she said aloud, experimentally, testing the words as her mouth formed them. How pleasurable it would be to write about a ratatouille made from sweet end-of-summer tomatoes, apricot-colored chanterelles fried in butter with flecks of bright green parsley, or red mullet grilled over vine prunings and served with spoonfuls of golden aioli

There was an air of luxury about the room, but it was the luxury of expert simplicity; she noted the costly furniture, carefully chosen for comfort, bought somewhere at a time when luxury had still been an art. There were no superfluous objects, but she noticed a small canvas by a great master of the Renaissance worth a fortune, she noticed an Oriental rug of a texture and color that belonged under glass in a museum. This was Mulligan’s concept of wealth, she thought—the wealth of selection, not of accumulation

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

abundance isn’t about just accumulating things. It’s about surrounding yourself with a rich palette of textures that enliven your senses. If true minimalism is like clear-cutting a field, Kondo’s method is like weeding a garden. It’s a process of removing the background noise to create a canvas on which to build a joyful home. Yet it’s also worth remembering that just weeding alone doesn’t create a beautiful garden. You have to plant flowers, too.

Mom’s approach to cuisine came from her art school days, inspiration hitting her on the spot. The ingredients she chose were paints you’d throw at a canvas, each chosen for its color and texture rather than its taste. If your fava beans didn’t click with the polenta? All you had to do was toss in a kilo of shrimp and the pink would bring out the dull off-white.

MYTH-1: Handmade items are costly! The items are modest yet the commitment of the craftsmen behind the items we offer is costly The vast majority of the cycles engaged with making the item are finished by the creator – the plan, however, the choice of the materials, the working out of how to cause the materials to go together, gathering the item, capturing the item, advertising the item, planning the bundling, and posting, conveying, or action selling. In spite of this, the items that the fasten organization offers you are truly sensible. Haven't viewed our list? here you go! (click here) Have you ever discovered such wonderful hand-made items at such modest rates?? I GUESS NOT! MYTH-2: HAND-MADE PRODUCTS ARE NOT STYLISH On the off chance that you believe that way, I have an inquiry for you – did your grandmother convey such a shopping pack when went out to get for food supplies or did she have such telephone and individual embellishment sacks? Certainly not. The crafted works are not, at this point unfashionable or old-fashioned. Actually, they are intended for pioneers. Simply being an aspect of the pattern and following it has neither rhyme nor reason. Be the person who sets it MYTH-3: HANDMADE GOODS ARE OF POOR QUALITY I can't envision how individuals have such misguided judgment. The machine-made merchandise is to some degree bargained with quality. In any case, with regards to hand made items, they are taken well consideration of by the craftsmen as referenced above, there is no trade-off with the quality. They are made of cotton and jute which are solid and strong. They are lightweight and simple to deal with. MYTH-4: THEY ARE SAME OLD PATTERNS You can't quit lecturing about the handcrafted items which are extremely extraordinary as it will never be equivalent to some other the explanation being that they are delivered by the hands of a craftsman and not a machine. The sack so made is a result of devotion, love, energy, and the enthusiasm to serve the client. Individuals love block prints due to the strong and straightforward plans that can be made, yet that effortlessness finds a way to accomplish. The strategy is brilliant for pictures with only a couple of tones and fewer subtleties however can be hard to use for pictures with bunches of little content, or extremely fine subtleties that will, in general, sever the square with such a large number of employments. One of the benefits of square printing is that it very well may be done on a surface of practically any size and surface. I print on texture, paper, canvas, wood, and different materials, and you don't need to stress over fitting it through a printer or a press. MYTH-5: HANDMADE PRODUCTS ARE NOT LONG LASTING Recollect the last cowhide sack you had? Which lost its covering not long after getting wet in a downpour or subsequent to utilizing it for 3-4 times. That is not the situation with hand-made cotton packs. They are launderable which makes it look clean with each utilization. No problem with the upkeep.

9 Flags is a multi-cuisine café bistro that introduces a blend of flavours that will tickle your palate. Homemade marinades and sauces drizzled and sizzled on dishes, that will take you on a journey around the world. Perfect flavours blended by hand from the best culinary chefs, an experience you all must try. We see our plates as a canvas with fresh garnish used and the play with textures will keep you mesmerized. 9 Flags will give you a dining experience you will never want to miss.

Your life is your work of art, it's an expression of your uniqueness. Sensuality enables artists to explore the depths of human experience, translating their internal landscapes into creative expressions that resonate with others. Each form of art captures the essence of emotion in unique ways, inviting audiences to engage with the artist's vision. In painting, colors and textures evoke feelings that can range from joy to despair. The choice of hues can create warmth or coldness, while the brushstrokes convey movement and energy, allowing viewers to feel the artist's heartbeat on the canvas. Each artwork becomes a window into the artist’s soul, reflecting their innermost thoughts and feelings. Music, too, is a deeply emotional medium. A melody can evoke nostalgia, while a rhythm can ignite a sense of urgency or joy. The interplay of notes and silence creates a dynamic landscape where emotions can flow freely. Lyrics can tell stories of love, loss, and hope, forging a connection that often feels personal and intimate. Writing gives voice to the complexities of emotion. Through prose and poetry, writers can articulate thoughts and feelings that may be difficult to express otherwise. Each word is carefully chosen to resonate with the reader, drawing them into a world where they can empathize with the characters and situations presented. The written word has the power to heal, inspire, and provoke thought, making it a vital form of artistic expression. Photography captures fleeting moments, freezing them in time while conveying emotions that may otherwise be lost. A single image can tell a powerful story, eliciting joy, sadness, or contemplation. The photographer's perspective shapes how we see the world, inviting us to experience beauty, vulnerability, and the raw essence of life through their lens. Dance is perhaps the most physical manifestation of sensuality in art. It encompasses a language of movement that transcends spoken words, allowing dancers to express emotions through their bodies. Each movement tells a story, whether it’s a graceful ballet or an energetic street dance, and the connection between performers and audience can be electric, creating an atmosphere of shared emotion and energy. In all these forms, the artist's sensuality serves as a conduit for emotional exploration and expression. It is through their vulnerability and authenticity that they invite others to feel, reflect, and connect, reminding us of the richness of the human experience. Art becomes a celebration of life, an exploration of emotions that binds us together in our shared humanity. Being an artist is immersing oneself completely in the experience of life...