The impressionist paintings of Manet, Cezanne and Monsieur Degas, express with exemplary sincerity the new sensations, the new world our eyes experience. Now here the successors to these artists [Seurat & Pissarro ] are trying to perfect the forms created by them. They found in the notes of Delacroix, in the scientific discoveries of Chevreul and Rood, the suggestion for a type of painting in which color impressions are ordered by the combining of little multi-colored brush strokes. But while they were attentive to such improvement of the means, they forgot the true end of art, the sincere and complete expression of vivid sensations. The works of these painters - Pissarro and Seurat are the most notorious - are interesting only as the exercises of highly mannered virtuosos. Their paintings are lifeless for the painters did not strive for sincerity, being too taken up with external formulas.
Georges SeuratRelated topics
art color combining end exemplary experience found impressionist improvement monsieur now perfect strive suggestion take trying vivid while means works degas NOTES eyes Cezanne Delacroix SeuratRelated quotes
Some scoffers have asked, "Where are the pre-Flood civilizations? If there was an entire civilization that was destroyed in the Flood of Noah, why don't we find their cities, highways or machines as we dig in the earth?” That's a fair question, but it is based on a false premise. What type of stuff would they need in a perfect world? If the weather was perfect and the animals were friendly and food was abundant and free and everyone was vegetarian, what would they need? They wouldn't need houses to be protected from weather, climate, or animals. I don't see why they would need buildings of any kind! If the earth was producing enormous quantities of food from pole to pole, they wouldn't need tractors, plows nor a highway system, nor vehicles to move food and goods from one region to another. They wouldn't need lots of things we need for survival and protection today.
Kent Hovind
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
Men who are never flagrantly dishonest are at times unveracious in small matters, colouring or suppressing facts with a conscious purpose; and writers who never stole an idea nor pretended to honours for which they had not striven, may be found lapsing into small insincerities, speaking a language which is not theirs, uttering opinions which they expect to gain applause rather than the opinions really believed by them. But if few men are perfectly and persistently sincere, Sincerity is nevertheless the only enduring strength.
The principle is universal, stretching from the highest purposes of Literature down to its smallest details. It underlies the labour of the philosopher, the investigator, the moralist, the poet, the novelist, the critic, the historian, and the compiler. It is visible in the publication of opinions, in the structure of sentences, and in the fidelity of citations.
George Henry Lewes
Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.
George Steiner
And then I awoke and yet continued to dream... painting constantly appeared to me as the one and only possible achievement. I thought of my grand old friend Henri Rousseau [French Primitive painter, died in 1910] that Homer in the porter's lodge whose prehistoric dreams have sometimes brought me near the gods. I saluted him in my dream. Near him I saw William Blake, noble emanation of English genius...'Have confidence in your objects,' he said, 'do not let yourself be intimidated by the horror of the world. Everything is ordered and correct and must fulfill its destiny in order to attain perfection. Seek this path'... I awoke and found myself in Holland in the midst of boundless world turmoil. But my belief in the final release and absolution of all things, whether they please or torment, was newly strengthened. Peacefully I laid my head among the pillows... to sleep, and dream, again.
Max Beckmann