At first, Matisse worried that working with cut paper was cheating—a shortcut to painting—and he kept it a secret. “It is necessary not to say anything about this,” he wrote to his son Pierre, in 1931.
http://www.newyorker.com/culture/culture-desk/moma-cutouts-sophie-matisse?int-cid=mod-latest
12.16.2014
10.28.2014
7.10.2014
4.07.2014
Jack Chambers
Painting is a calculated response to perception.
http://www.aci-iac.ca/jack-chambers/biography
3.17.2014
Randall Jarrell
What a pity we didn't live in an age when painters were still interested in the world.
3.04.2014
2.18.2014
This is the Life
...
What would you do differently, you up on your beanstalk looking at scenes of all peoples at all times in all places? When you climb down, would you dance any less to the music you love, knowing that music to be as provisional as a bug? Somebody has to make jugs and shoes, to turn the soil, fish. If you descend the long rope-ladders back to your people and time in the fabric, if you tell them what you have seen, and even if someone cares to listen, then what? Everyone knows times and cultures are plural. If you come back a shrugging relativist or tongue-tied absolutist, then what? If you spend hours a day looking around, high astraddle the warp or woof of your people's wall, then what new wisdom can you take to your grave for worms to untangle? Well, maybe you will not go into advertising.
...
Say you have seen something. You have seen an ordinary bit of what is real, the infinite fabric of time that eternity shoots through, and time's soft-skinned people working and dying under slowly shifting stars. Then what?
What would you do differently, you up on your beanstalk looking at scenes of all peoples at all times in all places? When you climb down, would you dance any less to the music you love, knowing that music to be as provisional as a bug? Somebody has to make jugs and shoes, to turn the soil, fish. If you descend the long rope-ladders back to your people and time in the fabric, if you tell them what you have seen, and even if someone cares to listen, then what? Everyone knows times and cultures are plural. If you come back a shrugging relativist or tongue-tied absolutist, then what? If you spend hours a day looking around, high astraddle the warp or woof of your people's wall, then what new wisdom can you take to your grave for worms to untangle? Well, maybe you will not go into advertising.
...
Say you have seen something. You have seen an ordinary bit of what is real, the infinite fabric of time that eternity shoots through, and time's soft-skinned people working and dying under slowly shifting stars. Then what?
By Annie Dillard
from the Fall issue of Image: A Journal of the Arts and Religion, published by the Center for Religious Humanism at Seattle Pacific University.
1.21.2014
Simonides
Poema pictura loquens,
pictura poema silens
Poetry is a speaking picture,
painting is a mute poetry
pictura poema silens
Poetry is a speaking picture,
painting is a mute poetry
Valery
In the strange faculty of doing certain things irrelevant to life with as much care, passion and persistence as if one's life depended on them . . . there we find what is called 'living.'
1.14.2014
Craig Raine
All bad literature aspires to the condition of literature. All good literature aspires to the condition of life.
from "Poetry Today"
from "Poetry Today"
1.11.2014
Horst Bredekamp
Ideas come through drawing.
A Very Rare Book: The mystery surrounding a copy of Galileo's pivotal treatise, by Nicholas Schmidle, The New Yorker, December 16, 2013 p63
A Very Rare Book: The mystery surrounding a copy of Galileo's pivotal treatise, by Nicholas Schmidle, The New Yorker, December 16, 2013 p63
1.07.2014
Chard de Niord
nature is an idea and not a place
www.charddeniord.com/index.php?/projects/what-the-animals-teach-us/
"What the Animals Teach Us" published in the Harvard Review, Push Cart Prize XXII,
www.charddeniord.com/index.php?/projects/what-the-animals-teach-us/
"What the Animals Teach Us" published in the Harvard Review, Push Cart Prize XXII,
Picasso
It's magnificent to invent new subjects.
Take van Gogh: potatoes, those shapeless things!
To have painted that, or a pair of old shoes!
That's really something!
Take van Gogh: potatoes, those shapeless things!
To have painted that, or a pair of old shoes!
That's really something!
–Pablo Picasso
Craig Raine, "Originality in Poetry" Haydn & the Valve Trumpet Faber and Fabre, 1990
Craig Raine, "Originality in Poetry" Haydn & the Valve Trumpet Faber and Fabre, 1990
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