In short it is my concern to emphasize that Gorky is, of all the surrealist artists, the only one who maintains direct contact with nature – sit down to paint before her. Furthermore, it is out of the question that he would take the expression of this nature as an end in itself – rightly he demands of her that she provide sensations that can serve as springboards for both knowledge and pleasure in fathoming certain profound states of mind... Here for the first time nature is treated as a cryptogram. The artist has a code by reason of his own sensitive anterior impressions, and can decode nature to reveal the very rhythm of life, in the discovery of the very rhythm of life.
André BretonRelated topics
anterior certain code end knowledge mind nature paint pleasure question reason sensitive serve short sit take surrealist gorky decode StatesRelated quotes
English: Only a total idiot would think that a major channel is working to inform the audience. The channel sells product, it must be packaged. CNN, for example, is a colossal ideological tool in the West. An excellent example is the situation around Yugoslavia. How effectively a very civilized part of humankind was brainwashed! The question is in approaches. If a consumer "grubs" stale bread, nobody will offer him poppy-seed buns. I'm an absolutely engaged person. By myself. I have certain political views. I'm not a journalist. I practice political propaganda. I am a commentator, and if one comments on events without having one's own position, that's an unhealthy symptom.
Mikhail Leontyev
What is a charitable heart? It is a heart which is burning with love for the whole creation, for men, for the birds, for the beasts ... for all creatures. He who has such a heart cannot see or call to mind a creature without his eyes being filled with tears by reason of the immense compassion which seizes his heart; a heart which is softened and can no longer bear to see or learn from others of any suffering, even the smallest pain being inflicted upon a creature. That is why such a man never ceases to pray for the animals ... [He is] ... moved by the infinite pity which reigns in the hearts of those who are becoming united with God.
Isaac the Syrian
God has permitted and does permit us to be shaken by adversity. Difficult times lie ahead. We will be greatly tested. We have to take this warning seriously and live spiritually... Many saints would have loved to have lived in our times and have had our chance to struggle for Christ... Our struggle matters because it is not a struggle against an Ali Pasha, or a Hitler and a Mussolini, but a struggle against the devil himself. For this reason, our wages will be heavenly... The saints will become more holy and the vile will become more vile. Yet I feel great consolation inside. This is only a storm; like past storms, it will pass. May the Good God take evil and turn it into good. Amen.
Paisios of Mount Athos
If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.
James McNeill Whistler
Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.
Marcel Duchamp