A Quote by Anton Ehrenzweig

Superficially insignificant or accidental looking detail [in art] may well carry the most important unconscious symbolism. — © Anton Ehrenzweig
Superficially insignificant or accidental looking detail [in art] may well carry the most important unconscious symbolism.
It is a pity to make a mystery out of what should most easily be understood. There is nothing occult about the thought that all things maybe made well or made ill. A work of art is a well-made thing - that is all. It may be a well-made statue of a well-made chair or a well-made book. Art is not a special sauce applied to ordinary cooking; it is the cooking itself that is good. Most simply and generally, Art may be thought of as "The Well Doing of What Needs Doing."
Whatever you do may seem insignificant to you, but it is most important that you do it.
I do think there is a link between the accidental art the sciences produce and the deliberate art the artist creates, but I can't help feeling that the innocence of the accidental art of science has a power and curious beauty that artists are hard-pressed to match.
The tea ceremony requires years of training and practice ... yet the whole of this art, as to its detail, signifies no more than the making and serving of a cup of tea. The supremely important matter is that the act be performed in the most perfect, most polite, most graceful, most charming manner possible.
There are so many people who have a training in art history; and if you've spent time looking at old art, you become attuned to what art does through materiality and so you begin to look to that in contemporary art as well. And anyway, I do think that matching one's experience with what you're looking at and questioning what you're looking inevitably involves materiality, just like it involves the sense of place.
There are institutional obligations I have to carry out that are important for a president of the United States to carry out, but may not always align with what I think would move the ball down the field on the issues that I care most deeply about.
I can't believe that 100% of the people who stand in art galleries looking at art are thinking, 'Well, here I am, looking at art.' They must be having some sort of other, unselfconscious experience.
The most important quality of art and its aim is illusion; emotion, which is often obtained by certain sacrifices of poetic detail, is something else entirely and of an inferior order.
God does not refuse to make himself known to man. He only will not do it by the symbolism of matter. He comes to us at once by the most natural course. We are in a transient state; our bodies are accidental, and God comes to us by that which is higher and truer--the intuitions of the soul.
Since most of us spend our lives doing ordinary tasks, the most important thing is to carry them out extraordinarily well.
What could define God, [is thinking of God] as the embodiment of the laws of nature. However, this is not what most people would think of that God. They made a human-like being with whom one can have a personal relationship. When you look at the vast size of the universe and how insignificant an accidental human life is in it, that seems most impossible.
There's nothing tiny or insignificant. Everything is significant. And everything flows on the same basis of Laws. Whether you are looking at world events or something that's happening in your kitchen drawer, broad and important, or narrow and seemingly insignificant, there's potential for connection or disconnection in either case. And it is only the connection or the disconnection that is of really any importance.
Whereas Freud was for the most part concerned with the morbid effects of unconscious repression, Jung was more interested in the manifestations of unconscious expression, first in the dream and eventually in all the more orderly products of religion and art and morals.
What's invaluable about actually going to the places you want to write about are the random accidental things that happen. Random, accidental detail is the best way to make a setting convincing. You can of course invent your own random details, and sometimes I will also mash up real incidents.
The detail of my art depends entirely on the project itself. I tend to be a little more detail-oriented with covers than I am with interior pages, and I try to reduce the detail on action sequences as opposed to suspense passages.
We move through soundscapes all the time, and most of them are accidental - a by-product. Most retail soundscapes are accidental, incongruent with the brands, and mostly hostile.
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