A Quote by Colin Blakemore
The painter who strives to represent reality must transcend his own perception. He must ignore or override the very mechanismsin his mInd that create objects out of images(symbols)... The artist, like the eye, must provide true images and the clues of distance to tell his magic lies.
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Illustrations have as much to say as the text. The trick is to say the same thing, but in a different way. It's no good being an illustrator who is saying a lot that is on his or her mind, if it has nothing to do with the text. . . the artist must override the story, but he must also override his own ego for the sake of the story.
The critic, to interpret his artist, even to understand his artist, must be able to get into the mind of his artist; he must feel and comprehend the vast pressure of the creative passion.
In order for a man to really understand himself he must be part of a nation; he must have some land of his own, a God of his own, a language of his own. Most of all he must have love and devotion for his own kind.
It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.
The mind of the painter must resemble a mirror, which always takes the colour of the object it reflects and is completely occupied by the images of as many objects as are in front of it.
The part of the philanthropist is indeed a dangerous one; and the man who would do his neighbour good must first study how not to do him evil, and must begin by pulling the beam out of his own eye.
Each must discover his own way in life, and that way lies in his heart. Let him delve deeply into the depths of his being; his true centre is not far from there.
I cannot draw a human figure if I don't know the order of his bones, muscles or tendons. Same is that I cannot draw a human face if I don't know what's going on his mind and heart. In order to paint life one must understand not only anatomy, but what people feel and think about the world they live in. The painter who knows his own craft and nothing else will turn out to be a very superficial artist.
The Judo pupil, therefore, must cultivate his mind; he must never feel fear, never lose his temper, never be off his guard; but he must be cool and calm, though not absent-minded; he must act as quick as thought, according to circumstances. He must also be dexterous as well as bold both in attack and in defense.
He who, in an enlightened and literary society, aspires to be a great poet, must first become a little child. He must take to pieces the whole web of his mind. He must unlearn much of that knowledge which has perhaps constituted hitherto his chief title to superiority. His very talents will be a hindrance to him.
The painter who is so enamoured by the beauties of the parts of a landscape, that he strives to represent all, cannot succeed. His picture will be an arrangement of a series of portraits of things without unity... There must be variety and contrast, but in measured doses.
A perfect historian must possess an imagination sufficiently powerful to make his narrative affecting and picturesque; yet he must control it so absolutely as to content himself with the materials which he finds, and to refrain from supplying deficiencies by additions of his own. He must be a profound and ingenious reasoner; yet he must possess sufficient self-command to abstain from casting his facts in the mould of his hypothesis.
The artist's personality must be left in his dressing-room; his soul must be denuded of its own sensations and clothed with the base or noble qualities he is called upon to exhibit.... [he] must leave behind him the cares and vexations of life, throw aside his personality for several hours, and move in the dream of another life, forgetting everything.
In a sense, the religious person must have no real views of his own and it is presumptuous of him, in fact, to have any. In regard to sex-love affairs, to marriage and family relations, to business, to politics, and to virtually everything else that is important in his life, he must try to discover what his god and his clergy would like him to do; and he must primarily do their bidding.
An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet. In the short span of his lifetime, an actor must learn all there is to know, experience all there is to experience, or approach that state as closely as possible. He must be superhuman in his efforts to store away in the core of his subconscious everything that he might be called upon to use in the expression of his art.
The whole world, from the least to the greatest, must know the truth, so that man may understand the great laws that govern his life. He must learn to control his own destiny, to heal his own body and bring happiness to his own soul.
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