~Naïveté.~--Naïveté is the language of pure genius and of discerning simplicity. It is the most simple picture of a refined and ingenious idea; a masterpiece of art in him in whom it is not natural.--_Mendelssohn._
Mutum est pictura poema=--A picture is a poem without words.
girl reached across her desk and pulled the computer keyboard over. “What’s his name?” she said. “Crowley,” Julianna said, surprised. “Christopher Wayne Crowley.” “I shouldn’t do this.” The girl looked back up at Genevieve and laughed. “But fuck it, right?” GENEVIEVE’S DISAPPEARANCE FROM the state fair had been news for about a day. Okay, maybe for a couple of weeks. She was beautiful—the Daily Oklahoman ran her picture with every story, a photo of her from the previous year’s U. S. Grant High School yearbook. Genevieve had thought the photo
Have you ever looked at, say, a picture or a great building or read a paragraph in a book and felt the world suddenly expand and, in the same instant, contract and harden into a kernel of perfect purity? Do you know what I mean? Everything suddenly fits, everything's in its place.
It is a shallow criticism that would define poetry as confined to literary productions in rhyme and metre. The written poem is only poetry _talking_, and the statue, the picture, and the musical composition are poetry _acting_. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains which he himself could never hope to hear.--_Ruskin._
A science is more useful in proportion as its fruits are more widely understood, and thus, on the other hand, it is less useful in proportion as it is less widely understood. The fruits of painting can be apprehended by all the populations of the universe because its results are subject to the power of sight, and it does not pass by the ear to the brain, but by the same channel by which {62} sight passes. Therefore it needs no interpreters of diverse tongues, as letters do, and it has instantly satisfied the human race in the same manner as the works of nature have done. And not only the human race, but other animals; as was shown in a picture representing the father of a family to whom little children still in the cradle gave caresses, as did the dog and the cat in the same house; and it was a wonderful thing to see such a sight.
On the birthday of King Matthias, a poet brought him a work made in praise of the royal birthday for the benefit of the world, and a painter presented him with a portrait of his lady-love. The king immediately shut the book of the poet and turned to the picture, and remained gazing on it with profound admiration. Then the poet, greatly slighted, said: "O king, read, read, and thou wilt hear something of far greater substance than a dumb picture!" Then the king, hearing himself blamed for contemplating a mute object, said: "O poet, be silent, thou knowest not what thou {81} sayest; this picture gratifies a nobler sense than thy work, which is for the blind. Give me an object which I can see and touch and not only hear, and blame not my choice in having placed thy work beneath my elbow, while I hold the work of the painter with both my hands before my eyes, because my very hands have chosen to serve a worthier sense than that of hearing.
The severe Schools shall never laugh me out of the Philosophy of Hermes, that this visible world is but a picture of the invisible.
In the four quarters of the globe, who reads an American book, or goes to an American play, or looks at an American picture or statue?
Salon=--A drawing-room; a picture gallery or exhibition.
The light that never was, on sea or land; The consecration, and the Poet's dream.
There seem to be magic days once in a while, with some rare quality of light that hold a body spellbound... Then comes the hard part: how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, air and space...
We will draw the curtain and show you the picture.
And above all thou shouldst take the mirror for thy master,--a flat mirror, since on its surface the objects in many respects have the same appearance as in painting. For thou seest that a painting done on a flat surface reveals objects which appear to be in relief, and the mirror consisting of a flat surface produces the same effect; the painting consists of one plane surface and the mirror likewise; the picture is impalpable, in so far as that which appears to be round and prominent cannot be grasped by the hands, and it is the same with the mirror; the mirror and the painting reveal the semblance of objects surrounded by light and shade; each of them appears to be at a distance from its surface.
Academics have given up trying to recover an honest picture of the past and have decided that their history-writing should be simply an instrument of moral hand-wringing.
Manum de tabula!=--Hand off the picture! _i.e._, leave off touching up.
The greatness of man even in his sensuality, to have known how to extract from it an admirable code, and to have drawn from it a picture of love to others.
Modesty is to merit what the shadows are to the figures on a picture; it imparts to it force and relief.
The first picture was a single line, drawn round the shadow of a man cast by the sun on the wall.
sometimes you don't need a goal in life, you don't need to know the big picture. you just need to know what you're going to do next!
Eloquence is the painting of thought; and thus those who, after having painted it, still add to it, make a picture instead of a portrait.
A first impression works like a magic mirror; it reflects what intrigues us rather than echoing a truthful picture. A first impression is the creating of an imagined character, born from personal desires, perceptions, and biases. Though sparked by an introduction to a real, living, breathing individual, the person remains a mystery long after parting. It is a fictitious ghost masked with similar features who remains. A first impression is rarely accurate; therefore, it should never be trusted.
If mankind cannot be engaged in practices "full of austerity and rigour?" by the love of righteousness and the fear of evil, without seeking for other compensation than that which flows from the gratification of such love and the consciousness of escape from debasement, they are in a bad case. For they will assuredly find that virtue presents no very close likeness to the sportive leader of the Joyous hours in Hume's rosy picture; but that she is an awful Goddess, whose ministers are the Furies, and whose highest reward is peace.
On September 11 — what happened? Picture this: two upended matchboxes, knocked over by the sheer force of paper-darts. Only it was much, much worse than that. In fact, words alone cannot adduce how much worse it was than that. September 11 was an attack on words: we felt a general deficit.
Every good picture is the best of sermons and lectures: the sense informs the soul.
That historian who would describe a favorite character as faultless raises another at the expense of himself. Zeuxis made five virgins contribute their charms to his single picture of Helen; and it is as vain for the moralist to look for perfection in the mind, as for the painter to expect to find it in the body.--_Colton._
If thou, O poet, dost represent the battle and its bloodshed enveloped by the obscure and dark air, amid the smoke of the terrifying and deadly engines, together with the thick dust which darkens the air, and the flight in terror of wretches panic-stricken by horrible death; in this case the painter will surpass thee, because thy pen will be used up before thou hast scarcely begun to describe what the art of the painter represents for thee immediately. And thy tongue shall be parched with thirst and thy body worn out with weariness and hunger before thou canst show what the painter will reveal in an instant of time. And in this painting there lacks nothing save the soul of the things depicted, and every body is represented in its entirety as far as it is visible in one aspect; and it would be a long and most tedious matter for poetry to enumerate all the movements of each soldier in such a war, and the parts of their limbs and their ornaments which the finished picture places before you with great accuracy and brevity; and to such a representation nothing is wanting save the noise of the engines, and the cries of the terrifying victors, {123} and the screams and lamentations of those awe-stricken; neither again can the poet convey these things to the hearing.
"Might I but see a miracle," men say, "I would become a Christian." How can they be sure they would do that of which they are ignorant? Men imagine that conversion consists in making of the worship of God such a transaction and way of life as they picture to themselves. True conversion consists in the annihilation of self before that universal Being whom we have so often provoked, and who might with justice destroy us at any moment; in recognising that we can do nought without him, and have merited nothing from him but his wrath. It consists in knowing that there is unconquerable opposition between us and God, and that without a mediator there could be no communion with him.
Le mort est le dernier trait du tableau de la vie=--Death is the finishing touch in the picture of life.
Women judge women hardly; ... they have no shading, / No softening tints, no generous allowance / For circumstance to make the picture human, / And true because so human.
We must be as courteous to a man as we are to a picture, which we are willing to give the advantage of a good light.
And if thou, O poet, wishest to describe the works of nature by thine unaided art, and dost represent various places and the forms of diverse objects, the painter surpasses thee by an infinite degree of power; but if thou wishest to have recourse to the aid of other sciences, apart from poetry, they are not thy own; for instance, astrology, rhetoric, theology, philosophy, geometry, arithmetic and the like. Thou art not then a poet any longer. Thou transformest thyself, and art no longer that of which we are speaking. Now seest thou not that if thou wishest to go to nature, thou reachest her by the means of science, deduced by others from the effects of nature? And the painter, through himself alone, without the aid of aught appertaining to the various sciences, or by any other means, achieves directly the imitation of the things of nature. By painting, lovers are attracted to the images of the beloved to converse with the depicted semblance. By painting whole populations are led with fervent vows to seek the image of the deities, and not to see the books of poets which represent the same deities in speech; by painting animals are deceived. I once saw a picture which deceived a dog by the image of its master, which the dog greeted with great joy; and likewise I have seen dogs bark at and try to bite painted dogs; and a monkey make a number of antics in front of a painted monkey. I have seen swallows fly and alight on painted {68} iron-works which jut out of the windows of buildings.
But there's a story behind everything. How a picture got on a wall. How a scar got on your face. Sometimes the stories are simple, and sometimes they are hard and heartbreaking. But behind all your stories is always your mother's story, because hers is where yours begin.
What the student of the history of the continuous growth of religion looks for in vain in the books of the Old Testament, are the successive stages in the development of religious concepts. He does not know which books he may consider as more ancient or more modern than other books. He asks in vain how much of the religious ideas reflected in certain of these books may be due to ancient tradition, how much to the mind of the latest writer. In Exodus iii. God is revealed to Moses, not only as the supreme, but as the only God. But we are now told by competent scholars that Exodus could not have been written down till probably a thousand years after Moses. How then can we rely on it as an accurate picture of the thoughts of Moses and his contemporaries? It has been said with great truth that 'it is almost impossible to believe that a people who had been emancipated from superstition at the time of the Exodus, and who had been all along taught to conceive God as the one universal Spirit, existing only in truth and righteousness, should be found at the time of Josiah, nearly nine hundred years later, steeped in every superstition.' Still, if the writings of the Old Testament[1] were contemporaneous with the events they relate, this retrogressive movement would have to be admitted. Most of these difficulties are removed, or considerably lessened, if we accept the results of modern Hebrew scholarship, and remember that though the Old Testament may contain very ancient traditions, they probably were not reduced to writing till the middle of the fifth century B.C., and may have been modified by and mixed up with ideas belonging to the time of Ezra.
A picture or a representation of human figures should be done in such a way that the spectator can easily recognize the purpose that is in their minds by their attitudes. If you have to represent a man of high character, let his gestures be such as harmonize with fair words; likewise, if you have to represent a man of low character, let his gestures be fierce, let him thrust his arms towards the listener, and let his head and chest be thrust forward in front of his feet, following the hands of the speaker. It is thus with a dumb man, who seeing two speakers, although he is deprived of hearing, nevertheless, owing to the attitudes and gestures of the speakers,
her ear. She was stick-thin and pretty, with a loose pink top that let her breasts sway and rose-colored tight pants, but other than her Vegas body, she wasn’t making any effort to look glamorous. Her brown hair hung limply to her shoulders in a mess of curls. She hadn’t put on makeup or jewelry, except for a gold bracelet that she twisted nervously around her wrist with her other hand. The whites of her eyes were lined with red. Amanda began to approach her but found her way blocked by a giant Samoan in a Hawaiian shirt, obviously a bodyguard. She discreetly flashed her badge. The man asked if she could wait, then lumbered over to Tierney and whispered in her ear. The girl studied Amanda, murmured something to the Samoan, and went back to her phone call. “Mrs. Dargon wonders if she could talk to you in her limo,” the bodyguard told Amanda. “It’s waiting outside. There’s a picture of Mr. Dargon on the door.” Amanda shrugged. “Okay.” She found the limo without any problem. Samoa had obviously radioed to the driver, who was waiting for her with the door open. He was in his sixties, and he tipped his black hat to Amanda as she got in. “There’s champagne if you’d like,” he told her. “We have muffins, too, but don’t take the blueberry oatmeal muffin. That’s Mrs. Dargon’s favorite.” Amanda smiled. “She
He has singed the beard of the king of Spain.
~Biography.~--As in the case of painters, who have undertaken to give us a beautiful and graceful figure, which may have some slight blemishes, we do not wish them to pass over such blemishes altogether, nor yet to mark them too prominently. The one would spoil the beauty, and the other destroy the likeness of the picture.--_Plutarch._
History is little else than a picture of human crimes and misfortunes.
It was a custom with Apelles, to which he most tenaciously adhered, never to let any day pass, however busy he might be, without exercising himself by tracing some outline or other,--a practice which has now passed into a proverb. It was also a practice with him, when he had completed a work, to exhibit it to the view of the passers-by in his studio, while he himself, concealed behind the picture, would listen to the criticisms. . . . Under these circumstances, they say that he was censured by a shoemaker for having represented the shoes with one latchet too few. The next day, the shoemaker, quite proud at seeing the former error corrected, thanks to his advice, began to criticise the leg; upon which Apelles, full of indignation, popped his head out and reminded him that a shoemaker should give no opinion beyond the shoes,[721-1]--a piece of advice which has equally passed into a proverbial saying.
Göbekli Tepe held another sensational secret. For many years, geneticists have been tracing the origins of domesticated wheat. Recent discoveries indicate that at least one domesticated variant, einkorn wheat, originated in the Karaçadag Hills – less than twenty miles from Göbekli Tepe.6 This can hardly be a coincidence. It’s likely that the cultural centre of Göbekli Tepe was somehow connected to the initial domestication of wheat by humankind and of humankind by wheat. In order to feed the people who built and used the monumental structures, particularly large quantities of food were required. It may well be that foragers switched from gathering wild wheat to intense wheat cultivation, not to increase their normal food supply, but rather to support the building and running of a temple. In the conventional picture, pioneers first built a village, and when it prospered, they set up a temple in the middle. But Göbekli Tepe suggests that the temple may have been built first, and that a village later grew up around it.
This was my prayer: an adequate portion of land with a garden and a spring of water and a small wood to complete the picture. ( Hoc erat in votis: modus agri non ita magnus, hortus ubi et tecto vicinus iugis aqu? fons et paulum silv? super his foret. ) [ Satir?, vi, 1. ]
Thou sayest, O painter, that worship is paid to thy work, but impute not this power to thyself, but to the subject which such a picture represents. Here the painter makes answer: O thou poet, who sayest that thou also art an imitator, why dost thou not represent with thy words objects of such a nature that thy writings which contain these words may be worshipped also? But nature has favoured the painter more than the poet, {83} and it is fair that the works of the more greatly favoured one should be more honoured than those of the less favoured one. Therefore let us praise him who with words satisfies the hearing, and him who by painting affords perfect content to the eyes; but let the praise given to the worker in words be less, inasmuch as they are accidental and created by a less worthy author than the works of nature of which the painter is the imitator. And the existence of these works is confined within the forms of their surfaces.
One might compare the relation of the ego to the id with that between a rider and his horse. The horse provides the locomotor energy, and the rider has the perogative of determining the goal and of guiding the movements of his powerful mount towards it. But all too often in the relations between the ego and the id we find a picture of the less ideal situation in which the rider is obliged to guide his horse in the direction in which it itself wants to go.
One picture is worth 128K words.
That is the best part of beauty which a picture cannot express.
In some of the great halls of Europe may be seen pictures not painted with the brush, but mosaics, which are made up of small pieces of stone, glass, or other material. The artist takes these little pieces, and, polishing and arranging them, he forms them into the grand and beautiful picture. Each individual part of the picture may be a little worthless piece of glass or marble or shell; but, with each in its place, the whole constitutes the masterpiece of art.
Let but the mirror be clear, this is the great point; the picture must and will be genuine.
The whole of life is just like watching a film. Only it's as though you always get in ten minutes after the big picture has started, and no-one will tell you the plot, so you have to work it out all yourself from the clues. Terry Pratchett
~History.~--The Grecian history is a poem, Latin history a picture, modern history a chronicle.--_Chauteaubriand._
The only people who see the whole picture are the ones who step outside the frame.
You own this picture?” the man asked. “I painted that picture.” “I don’t believe it,” he scoffed. “You are a woman.” Libby whirled around to look at him, but he was utterly serious. “I have been painting since I was six years old. My hand and my eyes are as good as any man’s.” If she’d said a donkey had painted the picture, he could not have looked more surprised. It was comical, actually, but a smile spread across the man’s wide face. “My family and I have admired the paintings we have found in this house. Never would I have imagined they were done by a woman. This seems very strange to me.
The son of parents pass'd into the skies.
L'histoire n'est que le tableau des crimes et des malheurs=--History is but a picture of crimes and misfortunes.
Was im Leben uns verdriesst / Man im Bilde gern geniesst=--What annoys us in life we enjoy in a picture.
It is a great fault in painters to repeat the same movements, the same faces and manners of stuffs in one subject, and to let the greater part of his faces resemble their creator; and this has often been a source of wonder to me, for I have known some who in all their figures seem to have depicted themselves. And in the figures the actions and ways of the painter were visible. And if they are prompt in action and in their ways the figures are likewise prompt; and if the painter is pious, the figures with their twisted necks appear pious likewise, and if the painter is lazy the figures seem like laziness personified, and if the painter is deformed so are his figures, and if he is mad it is amply visible in figures of his subjects, which are devoid of intention and appear to be heedless of their action, some looking in one direction, some in another, as though they were dreaming; and therefore every manifestation in the picture corresponds to a peculiarity in the painter. And as I have often thought over the cause of this fault, it seems to me that we must conclude that the spirit which directs and governs everybody is that which forms our intellect, or rather, it is our intellect itself. It has {119} devised the whole figure of man according as it has thought fit that it should be, either with long or a short and turned-up nose, and thus it has determined its height and figure; and so powerful is the intellect that it gives motion to the arms of the painter and causes him to reproduce himself, since it appears to the spirit that this is the true method of portraying man, and he that does otherwise is in error. And should this spirit find any one who resembles its body, which it has formed, it loves it and becomes enamoured with it, and for this reason many men fall in love and marry wives which resemble themselves, and often the children which are born of the issue resemble their parents.
Time in a few years destroys this harmony, but this does not occur in the case of beauty depicted by the painter, because time preserves it for long; and the eye, as far as its function is concerned, receives as much pleasure from the depicted as from the living beauty; touch alone is lacking to the painted beauty,--touch, which is the elder brother of sight; which after it has attained its purpose does not prevent the reason from considering the divine beauty. And in this case the picture copied from the living beauty acts for the greater part as a substitute; and the {75} description of the poet cannot accomplish this.--the poet who is now set up as a rival to the painter, but does not perceive that time sets a division between the words in which he describes the various parts of the beauty, and that forgetfulness intervenes and divides the proportions which he cannot name without great prolixity; he cannot compose the harmonious concord which is formed of divine proportions. And on this account beauty cannot be described in the same space of time in which a painted beauty can be seen, and it is a sin against nature to attempt to transmit by the ear that which should be transmitted by the eye.
What is important is to understand the true boundaries of reality, not the probable boundaries of possible future events. Although boundary conditions operate on the future, they are probabilistic constraints, not absolutely determined fact. We assume that ten minutes hence, the room we are in will still exist. It is a boundary condition that will define the next ten minutes in our space/time coordinate. But we cannot know who will be in the room ten minutes hence; that is free to be determined. One may ask if we can really know that the room will exist at any future moment. This is where induction enters the picture, since in truth we cannot know with certainty. There is no absolutely rigorous way of establishing that. But we can make the inductive leap of faith that has to do with accumulated experience. We project that the existence of the room will remain a boundary condition, but in principle in the next ten minutes there could be an earthquake and this building might not be left standing. However, for that to happen, the boundary condition will have to be radically disrupted in some unexpected and improbable manner. What is so curious is that such a thing could occur.