A Quote by Lyonel Feininger

There is no foreground or background, only a continuity of interlacing relationships — © Lyonel Feininger
There is no foreground or background, only a continuity of interlacing relationships
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
Everyone is aware of the fact that visual and auditive perspective are identical; the only difference being that they are created and perceived by two physically different organs, the eye and the ear. How often the playing of a great master makes us think of a picture with a deep background and varying planes; the figures in the foreground almost leap out of the frame whereas in the background the mountains and clouds are lost in a blue haze.
Ideas' can be only in the distant background of a work of art, something like a very low horizon. In the middle distance and foreground... there shouldn't be any 'ideas' visible.
We have so little faith in the ebb and flow of life, of love, of relationships. We leap at the flow of time and resist in terror its ebb. We are afraid it will never return. We insist on permanency, on duration, on continuity; when the only continuity possible in life, as in love, is in growth, in fluidity - in freedom.
I never work with music. I hate background music, always did. I only like music in the foreground, meaning, deliberately listen to it, actually.
So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.
If there's no background, no foreground, no opposition, no complements, then there's no change becasue there's no subject and object.
Moving ourselves to the background and others to the foreground is evidence that the (spiritual) search is achieving its purpose.
By definition it uses and plays and delights in time. It delights in the interlacing of chronologies and the consequences of that interlacing. And those have personal and psychological expressions in a character. Aside from other issues of writing, psychological characterization is what narrative can do best.
What's genius about 'Gravity' is that you are close upon the actors, but 3D works best when you have foreground, middle ground and background.
As a child, I'd always liked cowboys and Indians stories where there were two layers - gruesome in the foreground but funny in the background.
Start with the foreground. Compositions fail when the foreground is treated as an afterthought.
When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
I tend to work on the principle that much humour relies on cognitive dissonance - on the foreground not matching the background, on the protagonist's response to a situation being inappropriate, and so on.
When you love someone you do not love them all the time, in exactly the same way, from moment to moment. It is an impossibility. It is even a lie to pretend to. And yet this is exactly what most of us demand. We have so little faith in the ebb and flow of life, of love, of relationships. We leap at the flow of the tide and resist in terror its ebb. We are afraid it will never return. We insist on permanency, on duration, on continuity; when the only continuity possible, in life as in love, is in growth, in fluidity - in freedom
The American landscape has no foreground and the American mind no background.
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