In The Night Watch, again in Amsterdam, we have the feeling of communication: that something dramatic is happening before our very eyes. This scene of a company of guards painted as a group portrait was very popular in Rembrandt's day. The only other Dutch painter who could do anything at all with the subject was Frans Hals, who did it several times and rather well. But the conventions prevailing at the time were for such a group portrait to consist of an inert line of figures which was boring in the extreme. Rembrandt, tackling this subject, sees it as a dramatic event but also as an entirely realistic everyday occurrence... It was probably the most ambitious painting in size and scope that Rembrandt had painted up to that time, but it began his downfall among his contemporaries and from then his popularity waned. As his painting got better and better, he got poorer and poorer - so much for the Dutch public of his day and their taste in art! p. 404.
RembrandtRelated topics
anything art begin communication company contemporaries day guards line night portrait public scene size something tackling taste times watch well Amsterdam Rembrandt eyesRelated quotes
"It is an evil, sir, an unmitigated evil," Lincoln said. "I shall never forget the group of chained Negroes I saw going down the river to be sold close to a quarter of a century ago. Never was there so much misery, all in one place. If your secession triumphs, the South will be a pariah among nations." "We shall be recognized as what we are, a nation among nations," Lee returned. "And, let me repeat, my being here is a sign secession has triumphed. What I would seek to do now, subject to the ratification of my superiors, is suggest terms to halt the war between the United States and Confederate States." Lincoln refused to call Lee's country by its proper name. As a small measure of revenge, Lee put extra weight on that name. Lincoln sighed. This was the moment he had tried to evade, but there was no evading it, not with the commander of the Army of Northern Virginia in his parlor. "Name your terms, General," he said in a voice full of ashes.
Harry Turtledove
It may be observed of mathematicians that they only meddle with such things as are certain, passing by those that are doubtful and unknown. They profess not to know all things, neither do they affect to speak of all things. What they know to be true, and can make good by invincible arguments, that they publish and insert among their theorems. Of other things they are silent and pass no judgment at all, choosing rather to acknowledge their ignorance, than affirm anything rashly. They affirm nothing among their arguments or assertions which is not most manifestly known and examined with utmost rigour, rejecting all probable conjectures and little witticisms. They submit nothing to authority, indulge no affection, detest subterfuges of words, and declare their sentiments, as in a court of justice, without passion, without apology; knowing that their reasons, as Seneca testifies of them, are not brought to persuade, but to compel.
Isaac Barrow
We must be prepared to accept the will of God. The Lord permits all sorts of things to happen to us contrary to our will, for if we always have it our way, we will not be prepared for the Kingdom of Heaven. Neither heaven nor earth will receive those who are self-willed.
God has a Divine plan for each one of us, and we must submit to His plan. We must accept life as it is given to us, without asking, "Why me?” We must know that nothing on earth or in heaven ever happens without the will of God or His permission. We must not become too engrossed with our hardships but concentrate on preserving our inner peace.
Even when we are praying for something, we are trying to force our will instead of accepting God's. All hardships and sorrows that God sends us are necessary for us, but we do not understand this when we are young. When we are older, then we understand that this is the way God shows His love for us.
Tadej of Vitovnica
I've been educated in some pretty lively barrooms, like the Cedar Bar in New York. And I went to high school with Frank Stella and when he got out of college he went to New York and started painting... I was working with sculpture in a kind of dilatory way, and he said to come up and work in his tiny loft when he wasn't there. At the same time I sort of dabbled in a little bit of painting, and a kind of confusion. I was an eye, ear, nose, and throat person too... One day Frank Stella just said to me, 'Look, if you paint another painting I'm going to cut off your hands.' I asked, 'Can't I become a good painter?' Frank said, 'No, because you are a good sculptor now.' That's really my formal education.... the company of artists is the great education. We educate each other. I've learned from older, wiser people by the old Greek method of sitting down and drinking with them. And that's how I received my education.
Carl Andre
When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art.
Kurt Schwitters