A Quote by Alain de Botton
Every realistic picture represents a choice as to which features of reality should be given prominence; no painting ever captures the whole.
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If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
The material memories are not usually part of what is said about a picture, and that is a fault in interpretation because every painting captures a certain resistance of paint, a prodding gesture of the brush, a speed and insistence in the face of mindless matter.
Painting is the only universal language. All nature is creation's picture book. Painting alone can describe every thing which can be seen, and suggest every emotion which can be felt. Art reaches back into the babyhood of time, and is man's only lasting monument.
I've certainly always had a very high regard for Botswana and so I paint a very good picture of the country and I've never pretended to be painting an entirely realistic picture.
On the other hand, for the whole human being who wills, feels, and represents, external reality is given simultaneously and with as much certitude as his own self.
Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture - no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good - better than anything I could ever say on the subject.
I think that the audience should not be able to tell if it is real or not real - it should be an enhanced version of reality, or an artistic view of reality, that captures not only what is physically there, but what is not visible - the mood.
Catholics are frequently criticised because of the prominence and respect given to the Virgin Mary while simultaneously condemned for not giving enough prominence and respect to women.
Here, reality is not subordinated to painting, indeed painting seems the handmaid of reality, though we feel it tending towards a procedure which, while not at the mercy of appearances, is not yet in conflict with them.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
When realistic images or patterns are seen in an abstract painting, they are often parallels brought about by processes in painting which echo processes in nature.
Every gift which is given, even though it be small, is in reality great, if it is given with affection.
Every gift which is given, even though is be small, is in reality great, if it is given with affection
Creation rather than painting, or if painting, yet such, and with such co-presence of the whole picture flash'd at once upon the eye, as the sun paints in a camera obscura. (Describing his poetic ideal, 1817)
Everybody thinks they know what art should be. But very few of them have the sense that is necessary to experience painting, that is the sense of sight, that sees colors and forms as living reality in the picture.
David Gulden captures animals in all their wonder and intrigue, without glorifying or romanticizing them. He knows Kenya's wildlife intimately, and it shows in the depth of his images. He has an artist's eye, which delivers beauty and transport in every picture.
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