Turner Artist Quotes

But when you talk about Nabokov and Coover, you’re talking about real geniuses, the writers who weathered real shock and invented this stuff in contemporary fiction. But after the pioneers always come the crank turners, the little gray people who take the machines others have built and just turn the crank, and little pellets of metafiction come out the other end. The crank-turners capitalize for a while on sheer fashion, and they get their plaudits and grants and buy their IRAs and retire to the Hamptons well out of range of the eventual blast radius. There are some interesting parallels between postmodern crank-turners and what’s happened since post-structural theory took off here in the U.S., why there’s such a big backlash against post-structuralism going on now. It’s the crank-turners fault. I think the crank-turners replaced the critic as the real angel of death as far as literary movements are concerned, now. You get some bona fide artists who come along and really divide by zero and weather some serious shit-storms of shock and ridicule in order to promulgate some really important ideas. Once they triumph, though, and their ideas become legitimate and accepted, the crank-turners and wannabes come running to the machine, and out pour the gray pellets and now the whole thing’s become a hollow form, just another institution of fashion. Take a look at some of the critical-theory Ph.D. dissertations being written now. They’re like de Man and Foucault in the mouth of a dull child. Academia and commercial culture have somehow become these gigantic mechanisms of commodification that drain the weight and color out of even the most radical new advances. It’s a surreal inversion of the death-by-neglect that used to kill off prescient art. Now prescient art suffers death-by acceptance. We love things to death, now. Then we retire to the Hamptons.

My business is to paint what I see, not what I know is there.

Would Turner have slept through such terrific drama? Absolutely not! Anyone in my business who slept through that would be a fool. I don't keep office hours.

It was a masterpiece. Nobody bought it. (re: Rain, Steam and Speed - The Great Western Railway, 1844)

The only perfection available to you without compromise is that of intention and effort. If you endeavor to be the best pencil sharpener you can be, and tailor your actions accordingly, you can be certain all else will be forgiven in the final accounting.

That coarseness and strength combined with acuteness and inquisitiveness; that practical, inventive turn of mind, quick to find expedients; that masterful grasp of material things, lacking in the artistic but powerful to effect great ends; that restless, nervous energy; that dominant individualism, working for good and evil, and withal that buoyancy and exuberance which comes with freedom - these are the traits of the frontier.

It was, of course, the memory of Sophie and Nathan's long-ago plunge that set loose this flood [of tears], but it was also a letting go of rage and sorrow for the many others who during these past months had battered at my mind and now demanded my mourning: Sophie and Nathan, yes, but also Jan and Eva -- Eva with her one-eyed mis -- and Eddie Farrell, and Bobby Weed, and my young black savior Artiste, and Maria Hunt, and Nat Turner, and Wanda Muck-Horch von Kretschmann, who were but a few of the beaten and butchered and betrayed and martyred children of the earth. I did not weep for the six million Jews or the two million Poles or the one million Serbs or the five million Russians -- I was unprepared to weep for all humanity -- but I did weep for these others who in one way or another had become dear to me, and my sobs made an unashamed racket across the abandoned beach; then I had no more tears to shed, I lowered myself to the sand...and slept...When I awoke it was nearly morning...I heard children chattering nearby. I stirred...Blessing my resurrection, I realized that the children had covered me with sand, protectively, and that I lay as safe as a mummy beneath this fine, enveloping overcoat.

Almost all men are over anxious. No sooner do they enter the world than they lose that taste for natural and simple pleasures so remarkable in early life. Every hour do they ask themselves what progress they have made in the pursuit of wealth or honor and on they go as their fathers went before them till weary and sick at heart they look back with a sigh of regret to the golden time of their childhood.

Christ paints the Father in the most beautiful of hues!  According to Jesus, He is a God who is delighted at the sight of little children, goes out of His way to converse with the marginalized, turns water into wine to keep the party going, and who brushes aside religious laws in the name of showing mercy to sinners.  He pardons the adulterous without being asked, takes tax collectors as His disciples, and dines with scam artists and traitors.  He places His disciples’ wellbeing above the sacred nature of the Sabbath, brings healing to His nation’s foreign occupiers, and assures us that violence is never the way that God solves His problems. 

He is a Londoner, too, in his writings. In his familiar letters he displays a rambling urban vivacity, a tendency to to veer off the point and to muddle his syntax. He had a brilliantly eclectic mind, picking up words and images while at the same time forging them in new and unexpected combinations. He conceived several ideas all at once, and sometimes forgot to separate them into their component parts. This was true of his lectures, too, in which brilliant perceptions were scattered in a wilderness of words. As he wrote on another occasion, "The lake babbled not less, and the wind murmured not, nor the little fishes leaped for joy that their tormentor was not." This strangely contorted and convoluted style also characterizes his verses, most of which were appended as commentaries upon his paintings. Like Blake, whose prophetic books bring words and images in exalted combination, Turner wished to make a complete statement. Like Blake, he seemed to consider the poet's role as being in part prophetic. His was a voice calling in the wilderness, and, perhaps secretly, he had an elevated sense of his status and his vocation. And like Blake, too, he was often considered to be mad. He lacked, however, the poetic genius of Blake - compensated perhaps by the fact that by general agreement he is the greater artist.

The Bloomsbury Group has been characterised as a liberal, pacifist, and at times libertine, intellectual enclave of Cambridge-based privilege. The Cambridge men of the group (Bell, Forster, Fry, Keynes, Strachey, Sydney-Turner) were members of the elite and secret society of Cambridge Apostles. Woolf’s aesthetic understanding, and broader philosophy, were in part shaped by, and at first primarily interpreted in terms of, (male) Bloomsbury’s dominant aesthetic and philosophical preoccupations, rooted in the work of G. E. Moore (a central influence on the Apostles), and culminating in Fry’s and Clive Bell’s differing brands of pioneering aesthetic formalism. ‘The main things which Moore instilled deep into our minds and characters,’ Leonard Woolf recalls, ‘were his peculiar passion for truth, for clarity and common sense, and a passionate belief in certain values.’ Increasing awareness of Woolf’s feminism, however, and of the influence on her work of other women artists, writers and thinkers has meant that these Moorean and male points of reference, though of importance, are no longer considered adequate in approaching Woolf’s work, and her intellectual development under the tutelage of women, together with her involvement with feminist thinkers and activists, is also now acknowledged.

Keith Tyson, a winner of the Turner Prize, did a piece once where he just got the things already in the gallery and made them into artworks with what he called his ‘magical activation’. So he looked at the light switch and he called it ‘the apocalyptic switch’ and he looked at the light bulb and he called it ‘the light bulb of awareness’. He was using his power as an artist to designate things art, but it was within the art context.

. You get some bona fide artists who come along and really divide by zero and weather some serious shit-storms of shock and ridicule in order to promulgate some really important ideas. Once they triumph, though, and their ideas become legitimate and accepted, the crank-turners and wannabes come running to the machine, and out pour the gray pellets and now the whole thing’s become a hollow form, just another institution of fashion. Take a look at some of the critical-theory Ph.D. dissertations being written now. They’re like de Man and Foucault in the mouth of a dull child. Academia and commercial culture have somehow become these gigantic mechanisms of commodification that drain the weight and color out of even the most radical new advances. It’s a surreal inversion of the death-by-neglect that used to kill off prescient art. Now prescient art suffers death-by acceptance. We love things to death, now. Then we retire to the Hamptons.

Ruskin never escaped his prudish ways or gave any indication of desiring to. After the death of J. M. W. Turner, in 1851, Ruskin was given the job of going through the works left to the nation by the great artist and found several watercolors of a cheerfully erotic nature. Horrified, Ruskin decided that they could only have been drawn “under a certain condition of insanity,” and for the good of the nation destroyed almost all of them, robbing posterity of several priceless works.

J. M. W. Turner is regarded by many as Britain’s greatest artist, whose works have become iconic symbols of the Romantic art movement. He became known as ‘the painter of light’, due to his increasing interest in brilliant colours and the contrast between light and dark in his many landscapes and seascapes. Turner was born on 23 April 1775 in London. His father, William Turner (1745-1829), was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. In 1785, his mother suffered from severe mental illness and was admitted first to St Luke's Hospital for Lunatics in Old Street in 1799 and then Bethlem Hospital in 1800, where she died four years later.

In 1846 on of his Academy exhibits was a painting called The Angel Standing in the Sun. Turner found this passage for the Academy catalogue in the Book of Revelation: And I saw an angel standing in the sun; and he cried with a loud voice, saying to all the fowls that fly in the midst of heaven, Come and gather yourselves together unto the supper of the great God; That ye may eat the flesh of kings, and the flesh of captains and the flesh of mighty men, and the flesh of horses, and of them that sit on them, both free and bond, both small and great. To reinforce the note of voracious doom, he added two lines from Samuel Rogers' Voyage of Columbus: The morning march that flashes to the sun; The feast of vultures when the day is done.

During an interlude of peace in 1802, a consortium of patrons clubbed together to send Turner to Paris, in order to study in the Louvre. To begin with, he embarked on a tour of the Alps, whose sublime beauty and constant climatic change taught the young artist the awesome scale and mutability of nature. The Alpine tour resulted in some spectacular watercolours and oil paintings. Although he never witnessed an avalanche himself, an account of a devastating one in the Grisons prompted Turner to create the following painting in 1810. The tragic event occurred at Selva, killing twenty-five people. The canvas depicts huge rocks, driven before the weight of snow, crashing down upon a small chalet. Turner opted to portray not a single human figure, concentrating on the unparalleled might of nature instead.

Others, faced with Turner's competitiveness were less contented. C.R. Leslie was on hand when Turner's Helvoetsluys, to start with "a grey pictre, beautiful and true, but with no positive colour in any part of it", was hung next to Constable's Opening of Waterloo Bridge Leslie wrote that Constable's painting looked as if painted with liquid gold and silver, and Turner came several times into the room while Constable was heightening with vermilion and lake the decorations and flags of the city barges. Turner stood behind Constable, looking from "Waterloo" to his own picture, and at last went and got his palette from the Great Room where he had been touching another picture. He then put a round daub of red lead, "somewhat bigger than a shilling, on his grey sea, [and] went away without saying a word. The intensity of the red lead, made more vivid by the coolness of his picture, caused even the vermilion and lake of Constable to look weak. I came into the room just as Turner left it. "He as been here," Said Constable, "and fired a gun.

You mentioned that Palermo, the part of Buenos Aires where you were brought up, had been a violent place full of bohemians and bandits. There they had two names for the knife, ‘the blade’ and ‘the slicer’. The two names described the same object, but ‘the blade’ was the thing itself, and ‘the slicer’ described its function. ‘The blade’ could fit in the hand even of a sickly child shut up in his father’s library, ‘the blade’ could be any of the superannuated daggers and swords belonging to his warrior grandfather or great-grandfather and displayed on the walls of his house, but ‘the slicer’, the knife in the hand slicing back and forth, in and out, existed only in his imagination, in a fascinating world of rapid settlings of accounts and duels over honor, an insult or a woman, in dark street where you never went, where no writer went, except in the literature he wrote. ‘I’ve always felt that in order to be a great writer, one should have the experience of life at sea, which is why Conrad and Melville and, in a way, Stevenson, who ended his days in the South Seas, were better than all of us, Vogelstein. At sea, a writer flees from the minor demons and faces only the definitive ones. A character in Conrad says that he has a horror of ports because, in port, ships rot and men go to the devil. He meant the devils of domesticity and incoherence, the small devils of terra firma. But I think that having experience of “the slicer” would give a writer the same sensation as going to sea, of spectacularly breaking the bounds of his own passivity and of his remoteness from the fundamental matters of the world.’ ‘You mean that if the writer were to stab someone three times, he could allege that he was merely doing so in order to improve his style.’ ‘Something like that. Soaking up experience and atmosphere.’ ‘It’s said that the artist Turner used to have himself lashed to the ship’s mast during storms at sea so that he could make sure he was getting the colours and details of his painted vortices right.’ ‘And it worked. But neither you nor I will ever experience “the slicer”, Vogelstein. We are condemned to “the blade”, to the knife purely as theory. Even if we used “the slicer” against someone, we would still be ourselves, watching, analyzing the scene, and, therefore, inevitably, holding “the blade” in our hand. I don’t think I could kill anyone, apart from my own characters. And I don’t think I would feel comfortable at sea either. There aren’t any libraries at sea. The sea replaces the library.

The Riders Placencia Beach, Belize, 1996 Americans aren’t overly familiar with Tim Winton, although in my mind he is one of the best writers anywhere. This novel is set in Ireland and Greece as a man and his daughter search for their missing wife and mother. Gripping. 2. Family Happiness Miacomet Beach, Nantucket, 2001 The finest of Laurie Colwin’s novels, this is, perhaps, my favorite book in all the world. It tells the story of Polly Demarest, a Manhattan woman who is torn between her very uptown lawyer husband and her very downtown artist lover. 3. Mary and O’Neil Cottesloe Beach, Western Australia, 2009 These connected stories by Justin Cronin will leave you weeping and astonished. 4. Appointment in Samarra Nha Trang Beach, Vietnam, 2010 This classic novel was recommended to me by my local independent bookseller, Dick Burns, once he had found out how much I loved Revolutionary Road by Richard Yates. John O’Hara’s novel has all the requisite elements of a page-turner—drinking, swearing, and country club adultery, although set in 1930s Pennsylvania. This may sound odd, but trust me, it’s un-put-downable! 5. Wife 22 Oppenheimer Beach, St. John, U.S. Virgin Islands, 2012 If you like piña coladas… you will love Melanie Gideon’s tale of marriage lost and rediscovered. 6. The Interestings Steps Beach, Nantucket, 2013 And this summer, on Steps Beach in Nantucket, I will be reading The Interestings by Meg Wolitzer. Wolitzer is one of my favorite writers. She explores the battles between the sexes better than anyone around.

We began the show by asking: Who did more for the world, Michael Milken or Mother Teresa? This seems like a no-brainer. Milken is the greedy junk-bond king. One year, his firm paid him $550 million. Then he went to jail for breaking securities laws. Mother Teresa is the nun who spent her lifetime helping the poor and died without a penny. Her good deeds live on even after her death; several thousand sisters now continue the charities she began. At first glance, of course Mother Teresa did more for the world. But it's not so simple. Milken's selfish pursuit of profit helped a lot of people, too. Think about it: By pioneering a new way for companies to raise money, Milken created millions of jobs. The ignorant media sneered at 'junk bonds', but Milken's innovative use of them meant exciting new ideas flourished. We now make calls on a national cellular network established by a company called McCaw Cellular, which Milken financed. And our calls are cheaper because Milken's junk bonds financed MCI. CEO Bill McGowan simply couldn't get the money anywhere else. Without Milken, MCI wouldn't have grown from 11 to 50,000 employees. CNN's 24-hour news and Ted Turner's other left-wing ventures were made possible by Milken's 'junk'. The world's biggest toy company, Mattel, the cosmetics company Revlon, and the supermarket giant Safeway were among many rescued from bankruptcy by Milken's junk bonds. He financed more than 3,000 companies, including what are now Barnes & Noble, AOL Time Warner, Comcast, Mellon Bank, Occidental Petroleum, Jeep Eagle, Calvin Klein, Hasbro, Days Inn, 7-Eleven, and Computer Associates. Millions of people have productive employment today because of Michael Milken. (Millions of jobs is hard to believe, and when 'Greed' aired, I just said he created thousands of jobs; but later I met Milken, and he was annoyed with me because he claimed he'd created millions of jobs. I asked him to document that, to name the companies and the jobs, and he did.)

Noa sleeps with the curtains open, allowing as much moonlight as possible to flood her bedroom, allowing her to see each and every picture on the walls, if only as a pale glimmer. It took Noa weeks to perfect the art display. Reproductions of Monet's gardens at Giverny blanket one wall: thousands of violets- smudges of purples and mauves- and azaleas, poppies, and peonies, tulips and roses, water lilies in pastel pinks floating on serene lakes reflecting weeping willows and shimmers of sunshine. Turner's sunsets adorn another: bright eyes of gold at the center of skies and seas of searing magenta or soft blue. The third wall is splashed with Jackson Pollocks: a hundred different colors streaked and splattered above Noa's bed. The fourth wall is decorated by Rothko: blocks of blue and red and yellow blending and bleeding together. The ceiling is papered with the abstract shapes of Kandinsky: triangles, circles, and lines tumbling over one another in energetic acrobatics.

Not settles herself in the farthest reaches of the gallery, admiring the work of an artist she hasn't seen before. The canvases are large and dark, great splashes of royal blue on black, what appear to be deep purple seas beneath deep red skies. They remind her of Turner's tranquil sunsets, with a slightly sinister edge, as if sharks swim in the purple seas and black crows caw through the red skies.

So often Christian artists feel that their role is to take on the enemy, whereas they would produce better and more accessible work if they dealt with the contradictions, waverings, and weaknesses within themselves.

Any honest reflection on life will deal with imperfection. The difference in a Christian artist’s work should be that the depraved will seem depraved, and the ugly will seem ugly. Christians should be distinguished from those who suggest that depravity is normal or that evil is good.

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.

Jimena stopped in front of a locker near a floor-length mirror. "This one was Catty's," she said softly. A watercolor painting of the full moon rising over an ocean was taped to the front. A beautiful woman hovered behind the moon, her purple robe billowing into the starry sky behind her. The image was haunting. "Did she do the painting?" Tianna asked. "It's really pretty." Jimena nodded. "She was a good artist.

She took down the framed manuscript from the kitchen wall. It was Kendra's prized possession, and part of her felt guilty for what she planned, but it had to be done. She carefully removed the parchment from its frame, then searched through the piles of translations and notes on the kitchen table. Finally she found the Secret Scroll on the chair where Kendra had been the night before. She carried both manuscripts upstairs and set them on her desk. Next she gathered paints and brushes and sat down. She studied the artwork on the Secret Scroll, then slowly began copying its rich patterns of gold, red, and blue onto Kendra's old manuscript. It was late afternoon when she finished. She studied her work. She had managed to copy the exotic birds and animals hidden in the foliage on the borders, and even the detailed picture of the goddess locking the jaws of hell. Her work was rough, but at a distance it would fool Toby or any of the Regulators, especially since they were afraid to touch it. Satisfied, she went to her closet. She searched through her clothes until she found the strapless top with the slit in the front. She slipped it over her head, then grabbed a silky black skirt and stepped into it. She carried her stiletto boots to the bed and tugged them on. At last she drew black liquid eyeliner over her top lid, added green glitter shadow, rolled thick mascara on her lashes, and brushed her hair. She added gloss to her lips and rubbed sparkle lotion over her arms and chest. Then she remembered the dragon stencils. Soon, she had a sinuous dragon adorning her thigh between the bottom of her skirt and the top of her boots. She liked the look. She turned in front of the full-length mirror behind the bathroom door. "Dynamite," she whispered. Her reflection thrilled her. She looked vamped-out and mystical. At once, she sensed the fierce power of the dragon rising in her. She felt like an invincible goddess-warrior.

SELF PORTRAIT, 1799 In this early self portrait we can note the subtle blend of light and dark, illuminating the face of the young twenty-four year old artist. Dating from around 1799, the painting was most likely intended to mark Turner’s election as a full member of the Royal Academy, a momentous occasion for any aspiring artist. This meant that he could now exhibit his works on the walls of the Academy without fear of rejection by any members of the committee. Despite his relative youth, Turner had already made a name for himself as an original, accomplished painter with the technical abilities of someone many years more experienced. He had been described in London newspapers as an artist that ‘seems thoroughly to understand the mode of adjusting and applying his various materials’ and ‘their effect in oil or on paper is equally sublime’. The portrait, which is now housed in Tate Britain, depicts a confident young man, who stares assertively at the viewer, hinting at his ambitions and skilled abilities as an artist.

But the black sheep are the artists, visionaries and healers of our culture, because they are the ones willing to call into question those places which feel stale, obsolete, or without integrity.

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【V信83113305】：Goldsmiths, University of London, often referred to as Goldsmiths College, is a renowned public research institution famed for its profound impact in the arts, design, humanities, and social sciences. Founded in 1891, it became part of the University of London in 1904. The college is celebrated for its innovative, interdisciplinary approach and its commitment to creative and critical thinking. It has produced an impressive roster of influential alumni, including numerous Turner Prize winners, prominent artists, and leading cultural figures. With a vibrant, diverse community and a campus located in the dynamic New Cross area of South London, Goldsmiths provides a stimulating environment that challenges conventions and fosters groundbreaking work, making it a unique and influential force in global higher education.，100%办理GC毕业证书, GC假学历, 极速办高盛学院毕业证Goshen College文凭学历制作, 办理高盛学院文凭, GC毕业证最新版本推荐最快办理高盛学院文凭成绩单, 美国买文凭办理高盛学院毕业证成绩单, GC成绩单高盛学院毕业证快速办理方式, 安全办理-高盛学院文凭GC毕业证学历认证, 原版GC毕业证办理流程

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【V信83113305】：Goldsmiths, University of London, often referred to as Goldsmiths College, is a distinguished public research university renowned for its profound impact on the creative arts, humanities, and social sciences. Founded in 1891, it became part of the University of London in 1904. The institution has cultivated a unique, avant-garde ethos that champions interdisciplinary learning and critical thinking. It is famously associated with the Young British Artists movement and boasts an impressive roster of alumni, including numerous Turner Prize winners and influential figures like Damien Hirst and Mary Quant. Goldsmiths provides a dynamic, stimulating environment that encourages innovation and challenges conventional academic boundaries, making it a global hub for creative and intellectual experimentation.，【V信83113305】做今年新版GC毕业证,制作美国文凭GC毕业证,高端定制GC毕业证留信认证,高端原版GC毕业证办理流程,在线办理GC毕业证offer外壳皮,在线办理GC毕业证本科硕士成绩单方法,如何办理GC毕业证一比一定制,快速办理GC毕业证如何放心,硕士博士学历GC毕业证-高盛学院毕业证书-真实copy原件,办理美国-GC毕业证书高盛学院毕业证

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