A Quote by Andre Breton
It is impossible for me to envisage a picture as being other than a window, and why my first concern is then to know what it looks out on.
Related Quotes
I find it impossible to think of a picture save as a window, and my first concern about a window is to find out what it looks out on... and there is nothing I love so much as something which stretches away from me out of sight.
I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.
Picture the moment when your mom and dad first saw you as something other than a pretty, tiny version of them. You as them, but improved. Better educated. Innocent. Then picture when you stopped being their dream.
I create books for six-year-olds. I don't know why that time of my life was so important to me, but no matter what I draw, it always looks like it comes from a children's book. I can't resist. I'll set out to paint a serious picture then think, "Well, maybe there would be a little bunny in that corner."
When you look at a beautiful view from a window, the beautiful view also looks at you from the same window! But the window looks at both you and the view! Wise man is the window itself; he looks at everywhere!
I travel alone so much, and the first thought is to grab the damn phone. In airports, just look around. Nobody looks at anybody, or even out the window. It's obvious we can't live without it anymore, and as a comic on the road the phone is an essential tool. It's probably doing more good than bad for me, but it does make me sad that those of us who grew up without mobile phones, we know what we're missing.
Why aren't there films being made that tell ethnically diverse stories? Or why is it so impossible to allow a person of color to add their texture and their essence to a role that is not ethnically specific? I don't know why it's a novel or risky idea to consider making a film look like how our world actually looks today.
A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it as well - she did this and then she did that; there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.
Maybe the first time that you know you really care about something is when you think about it not being there,and when you know-you really know-that the emptinessis as much as inside you as outside you.For it falls out,that what we have we prize not to the worth whiles we enjoy it;but being lacked and lost,why,then we rack the value,then we find the virtue that possesion would not show us while it was ours.That's when I knew for the first time that I really did love my sister.
I woke up; I go to the window, open the curtain. I don't know why! In the middle of night, usually I don't do that. Something drove me... And then I was freeze-framed! The lightship showed one light after the other, in such intensity!
He who looks through an open window sees fewer things than he who looks through a closed window.
It is absolutely impossible for a subject to see or have insight into something while leaving itself out of the picture, so impossible that knowing and being are the most opposite of all spheres.
Definitely my 'why' in WWE is the representation and being a role model for everyone out there. Anyone who looks to me as an inspiration is why I do this.
I started out with nothing in the world but a kind of passion, a driving desire. I don't know where it came from, and I don't know why - or why I have been so stubborn about it that nothing could deflect me. But this thing between me and my writing is the strongest bond I have ever had - stronger than any bond or any engagement with any human being or with any other work I've ever done.
I asked someone once why he liked Jean-Michel's work and why it was being singled out for acclaim, and he said, 'Because it looks like art.' But then again, art doesn't always look like art at first. The way the space shuttle that lifts off doesn't much resemble the space shuttle as it lands.
What I feel is that the picture-taking process, anyway a greater part of it, is an intuitive thing. You can't go out and logically plan a picture, but when you come back, reason then takes over and verifies or rejects whatever you've done. So that's why I say that reason and intuition are not in conflict-they strengthen each other.
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