A Quote by Thomas Eakins
I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's Rest in the Lord. It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure.
Related Quotes
In 1958 I finally found a large enough apartment on the Lower East Side, where I reverted to figure painting. I drew and painted quite a lot of figures and nudes. People would come and pose for me.
I've always used masks. I think it's a lot about the fact that masks often reveal a sort of subconscious element to a character. The mask is carved and given an expression or markings to reveal something, even though it's shielding the face. Even though it's hiding the face, it seems to reveal something underneath.
Last night at Carnegie Hall, Jack Benny played Mendelssohn. Mendelssohn lost.
But recently I began to feel that maybe I wouldn't be able to do what I want to do and need to do with American musicians, who are imprisoned behind these bars; music's got these bars and measures you know.
There's a certain way people are used to seeing nude women, and that's in a submissive, coy pose, not looking at the camera. And in this poster, I'm looking dead into the camera with no expression on my face. I think it freaks a lot of people out.
What is a face, really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is in front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way? Deformations simply do not exist.
Classical musicians do this all the time. They want perfection. So they piece things together. Eight bars of this and six bars of that. Glenn Gould said that with a recording he wanted to make perfect versions of pieces.
The availability of downloads is fantastic, but you don't know which musicians are playing on the songs anymore. It's kind of making musicians faceless, you don't get musical solos on records anymore. You know who the singer is but it's the poor old musicians who suffer.
A face painted in a picture gives a pitiful parody of life. . . but a painted surface lives.
I think there is a misconception that when people are the face of something, or they're the voice, especially when they're young women, that they're being created or molded by someone else. I think more so than not wanting to be a singer I was afraid of being mislabeled as just a singer - not that that's a bad thing.
A lot of musicians are good cooks, and a lot of cooks are musicians, but I think that may just be a result of the creative impulse finding several means of expression. Probably an equivalent number are visual artists, woodworkers or compulsive liars.
It was an important part of Mendelssohn's philosophical and religious view that the traditional rationalist proofs for God's existence should be sound an convincing. Kant thought they were not. So Kant's critique was world-shaking for Mendelssohn.
The years 1781 to 1793 are crucial for many reasons, but chiefly because they pose in an especially clear way the main problem of German philosophy for the next century. This is the old conflict between reason and faith which recurred during the pantheism controversy between Jacobi and Mendelssohn.
All the old bogeys of 'dignified subject-matter,' of 'balanced compositions,' of 'correct drawing' were laid to rest. The artist was responsible to no one but his own sensibilities for what he painted and how he painted it.
The ancestors of printed comics drew, painted and carved their time-paths from beginning to end, without interruption, ... the infinite canvas.
After tiny has tried ballerina pose, swing-batter-batter pose, pump-up-the-jam pose, and top-of-the-mountain-sound-of-music pose in the reflection of the bean, he walks us to a bench overlooking lake shore drive.
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