What do you think an artist is? An imbecile who only has eyes, if he is a painter, or ears if he is a musician, or a lyre in every chamber of his heart if he is a poet, or even, if he is a boxer, just his muscles? Far from it: at the same time he is also a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war.
Pablo PicassoRelated topics
cool far heart heartbreaking life lyre people possible think time war world things eyesRelated quotes
Let true Christians then, with becoming earnestness, strive in all things to recommend their profession, and to put to silence the vain scoffs of ignorant objectors. Let them boldly assert the cause of Christ in an age when so many, who bear the name of Christians, are ashamed of Him: and let them consider as devolved on Them the important duty of suspending for a while the fall of their country, and, perhaps, of performing a still more extensive service to society at large; not by busy interference in politics, in which it cannot but be confessed there is much uncertainty; but rather by that sure and radical benefit of restoring the influence of Religion, and of raising the standard of morality.
William Wilberforce
You may not be her first, her last, or her only. She loved before she may love again. But if she loves you now, what else matters? She's not perfect-you aren't either, and the two of you may never be perfect together but if she can make you laugh, cause you to think twice, and admit to being human and making mistakes, hold onto her and give her the most you can. She may not be thinking about you every second of the day, but she will give you a part of her that she knows you can break-her heart. So don't hurt her, don't change her, don't analyze and don't expect more than she can give. Smile when she makes you happy, let her know when she makes you mad, and miss her when she's not there.
Bob Marley
Do everything simply and meekly. Do nothing with an ulterior motive. Don't say, I'll do this in order to have that result, but do it naturally, without taking cognizance of it. That is, pray simply and don't think about what God will bestow on your soul. Don't make any calculations. You know, of course, what God bestows when you enter into communion with Him, but it is as if you don't know. Don't discuss the matter even with yourself. So when you repeat the prayer, "Lord Jesus Christ, have mercy on me”, say it simply and ingenuously and think of nothing other than the prayer. These are very delicate matters and the intervention of the grace of God is required.
Porphyrios of Kafsokalyvia
To answer your first question - most significantly the [ Federal Art Project ] project was my training ground in the real sense of the word. I feel very strongly about this. We were all poor, or most of us, and to have the time and opportunity to continue working - I was then in my twenties which is the important period - the crucial period for the young painter. This was most important and figures significantly in my own development. Although I feel that my personal image as a painter did not come about until I began my easel painting with personal imagery which was about 1941. The project kept me alive and working - it was my education.
Phillip Guston
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
