A Quote by Sergei Eisenstein
For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.
Related Quotes
When I adjust materials of different kinds to one another, I have taken a step in advance of mere oil painting, for in addition to playing off color against color, line against line, form against form, etc., I play off material against material, for example, wood against sackcloth.
Consider paint a film of light reflecting/absorbing material, and a colored paint a material which gives a particular, characteristic transmission of light via differential absorption and reflection. Call this reflected quality 'luminance' and measure it in millilamberts. This measure is as real and present as height, breadth, depth; and I find the phenomenon equally sumptuous and convincing. . . . Painted light, not color, not form, not perspective, or line, not image, or words, or equations, is painting. I make paintings which do not represent light, they are light.
Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how you should read the painting. For example, we assume that what the model is wearing is what we found him in in the streets. No; in fact, a lot of what happens is that in Photoshop certain aspects are being heightened or diminished. There is no actual material truth in these paintings.
I am convinced that abstract form, imagery, color, texture, and material convey meaning equal to or greater than words.
The process of dying begins with the dissolution of the elements within the body. It has eight stages, beginning with the dissolution of the earth element, then the water, fire and windelements. The color: appearance of a white vision, increase of the red element, black near-attainment, and finally the clear light of death.
Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.
Color exists simultaneously with form. Both elements are constantly associated but color strikes you more - a rose for instance - sometimes form - the human body.
We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface.
I'm a big fan of Henri Cartier-Bresson, the French photographer who had that whole "decisive moment" approach to taking pictures, of having multiple elements line up within the frame.
Fear arises through identification with form, whether it be a material possession, a physical body, a social role, a self-image, a thought, or an emotion. It arises through unawareness of the formless inner dimension of consciousness or spirit, which is the essence of who you are. You are trapped in object consciousness, unaware of the dimension of inner space which alone is true freedom.
Where these reduced (operational - E.W.) concepts govern the analysis of the human reality, individual or social, mental or material, they arrive at a false concreteness - a concreteness isolated from the conditions which constitute its reality. In this context, the operational treatment of the concept assumes a political function. The individual and his behavior are analyzed in a therapeutic sense - adjustment to his society. Thought and expression, theory and practice are to be brought in line with the facts of his existence without leaving room for the conceptual critique of these facts.
Experience has proved that there is no difference between a so-called realist painting - of a landscape, for example - and an abstract painting. They both have more or less the same effect on the observer.
Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness,to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms.
So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.
Related Authors
Alejandro Gonzalez Inarritu Quotes
Mexican
Director
Ava DuVernay Quotes
American
Director
David Lynch Quotes
American
Director
George Lucas Quotes
American
Director
Guillermo del Toro Quotes
Mexican
Director
John Waters Quotes
American
Director
Judd Apatow Quotes
American
Director
Martin Scorsese Quotes
American
Director
Nicolas Winding Refn Quotes
Danish
Director
Oliver Stone Quotes
American
Director
Peter Jackson Quotes
New Zealander
Director
Quentin Tarantino Quotes
American
Director
Ridley Scott Quotes
British
Director
Steven Spielberg Quotes
American
Director
Werner Herzog Quotes
German
Director
Woody Allen Quotes
American
Director