..as is also another [painting] of Diana, who, bathing in a fount with her Nymphs, transforms Actaeon into a stag.. ..He also painted Europa passing over the sea on the back of the Bull. All these pictures are in the possession of the Catholic King, held very dear for the vivacity that Tiziano has given to the figures with his colors, making them natural and as if alive. It is true, however, that the method of work which he employed in these last pictures is no little different from the method of his youth, for the reason that the early works are executed with a certain delicacy and a diligence that are incredible, and they can be seen both from near and from a distance, and these last works are executed with bold strokes and dashed off with a broad and even coarse sweep of the brush, insomuch that from near little can be seen, but from a distance they appear perfect. (Titian)

..as is also another [painting] of Diana, who, bathing in a fount with her Nymphs, transforms Actaeon into a stag.. ..He also painted Europa passing over the sea on the back of the Bull. All these pictures are in the possession of the Catholic King, held very dear for the vivacity that Tiziano has given to the figures with his colors, making them natural and as if alive. It is true, however, that the method of work which he employed in these last pictures is no little different from the method of his youth, for the reason that the early works are executed with a certain delicacy and a diligence that are incredible, and they can be seen both from near and from a distance, and these last works are executed with bold strokes and dashed off with a broad and even coarse sweep of the brush, insomuch that from near little can be seen, but from a distance they appear perfect.

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appear bold bull certain dear diana different diligence distance early fount given hold king last making natural near off passing perfect possession reason sea seen sweep vivacity work youth works

Related quotes

Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off.

Per Kirkeby

Colours no longer looked as brilliant to me as they use to do [Monet's sight was beginning to fail], I no longer painted shades of light so correctly. Reds looked muddy to me, pinks insipid, and the intermediate or lower notes in the colour scale escaped me. As for forms, I could see them as clear as ever, and render them as decisively. At first I tried pertinacity. How many times I have remained for hours near the little bridge, exactly were we are now, in the full glare of the sun, sitting on my camp-stool, under my sunshade, forcing myself to resume my interrupted task and to recapture the freshness my palette had lost! A waste of effort. What I painted was more and more mellow.... and (when) I compared it with what I used to do in the old days. I would fall into a frantic rage, and I slashed all my pictures with my penknife.

Claude Monet

In art, origin and value cannot be treated as independent. Those who enjoy poetry and painting must be at least dimly aware of a poet beyond the poem and a painter beyond the picture. If by some unimaginable process works of beauty could be produced by machinery, as a symmetrical colour pattern is produced by a kaleidoscope, we might think them beautiful till we knew their origin, after which we should be rather disposed to describe them as ingenious. And this is not, I think, because we are unable to estimate works of art as they are in themselves, not because we must needs buttress up our opinions by extraneous and irrevelant considerations; but rather because a work of art requires an artist. not merely in the order of natural causation, but as a matter of a-sthetie necessity. It conveys a message which is valueless to the recipient, unless it be understood by the sender. It must be expressive.

Arthur Balfour

If my history lesson has done nothing else, it should have reminded you that, during any given period in the evolving history of physics, the prevailing, main line, climate of opinion was likely as not to be wrong, as seen in the light of later developments. And yet, in those earlier times, with relatively few individuals involved, change did occur, but slowly... What is fundamentally different in the present day situation in high energy physics is that large numbers of workers are involved, with corresponding pressures to conformity and resistance to any deflection in direction of the main stream, and that the time scale of one scientific generation is much too long for the rapid pace of experimental discovery. I also have a secret fear that new generations may not necessarily have the opportunity to become familiar with dissident ideas.

Julian Schwinger

My broad position remains firmly libertarian, sceptical of official cover-ups and uncompromisingly internationalist, believing sovereignty to be an almost total illusion in the modern world, although both expecting and welcoming the continuance of strong differences in national traditions and behaviour. I distrust the deification of the enterprise culture. I think there are more limitations to the wisdom of the market than were dreamt of in Mrs Thatcher's philosophy. I believe that levels of taxation on the prosperous, having been too high for many years (including my own period at the Treasury), are now too low for the provision of decent public services. And I think the privatisation of near monopolies is about as irrelevant as (and sometimes worse than) were the Labour Party's proposals for further nationalisation in the 1970s and early 1980s.

Roy Jenkins