A Quote by Steven Saylor

Im like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture. — © Steven Saylor
Im like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.
Before a painter puts a brush to his canvas, he sees his picture mentally.... If you think of yourself in terms of a painting, what do you see?... Is the picture one you think worth painting?... You create yourself in the image you hold in your mind.
Artists are neurotic and hypersensitive, and they tend to focus on granular details, sometimes at the expense of the big picture. I've gotten better at the big picture over the years.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
I can picture things, like a painter would, though Im not good at painting, either.
At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.
In descriptions of nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture.
An optimist is a person who sees only the lights in the picture, whereas a pessimist sees only the shadows. An idealist, however, is one who sees the light and the shadows, but in addition sees something else: the possibility of changing the picture, of making the lights prevail over the shadows.
I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.
I use different media, but I still think as a painter. I organize my forms and colors on a screen like a painter does on a canvas.
The general ideas which are expressed in sketches, correspond very well to the art often used in poetry... every reader making out the detail according to his own particular imagination... but a painter, when he represents Eve on canvas, is obliged to give a determined form, and his own idea of beauty distinctly expressed.
In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you'll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball.
It's Toby Jones playing Alfred Hitchcock, not Alfred Hitchcock. We all felt that his silhouette was crucial, so his nose and lips were crucial as well. We had to build it out a bit to get the silhouette. But, with my nose being so small within the proportion of my face, the first nose was too big. I felt like a nose on parade.
And the most successful leader of all is one who sees another picture not yet actualized. He sees the things which belong in his present picture but which are not yet there.
With a woman I try to photograph her beauty; with a man I try to show his character. Once I photographed a man with a big nose (Jimmy Durante), and emphasized his nose, and he was very pleased with the picture. That could not happen with a woman. The most intelligent woman will reject a portrait if it doesn't flatter her.
What I did for my last act as a painter, if you call me a painter, was to photograph the weave of the canvas, and enlarge it and enlarge it until it became like a landscape.
My heart belongs to the details. I actually always found them to be more important than the big picture. Nothing works without details. They are everything, the baseline of quality.
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