A Quote by Benoit Mandelbrot
Many painters had a clear idea of what fractals are. Take a French classic painter named Poussin. Now, he painted beautiful landscapes, completely artificial ones, imaginary landscapes. And how did he choose them? Well, he had the balance of trees, of lawns, of houses in the distance. He had a balance of small objects, big objects, big trees in front and his balance of objects at every scale is what gives to Poussin a special feeling.
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From the moment they had left the Earth, their own weight, and that of the Projectile and the objects therein contained, had been undergoing a progressive diminution. . . . Of course, it is quite clear, that this decrease could not be indicated by an ordinary scales, as the weight to balance the object would have lost precisely as much as the object itself. But a spring balance, for instance, in which the tension of the coil is independent of attraction, would have readily given the exact equivalent of the loss.
When you look at a wall spotted with stains...you may discover a resemblance to various landscapes, beautiful with mountains, rivers, rocks, trees. Or again, you may see battles and figures in action, or strange faces and costumes, and an endless variety of objects which you could reduce to complete and well-drawn figures.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
In all the houses keys to memorizing objects and feelings had been written. But the system demanded so much vigilance and moral strength that many succumbed to the spell of an imaginary reality, one invented by themselves, which was less practical for them but more comforting.
But the trees seemed to know me. They whispered among themselves and beckoned me nearer. And looking around, I noticed the other small trees and wild plants and grasses had sprung up under the protection of the trees we had placed there. The trees had multiplied! They were moving. In one small corner of the world, Grandfather's dream was coming true and the trees were moving again.
A lot of parts of L.A. are interchangeable with suburbs in Joburg. Very big, ostentatious houses with palm trees and lawns. Lawns are very important. Never underestimate lawns.
So many women now in China are entering the workforce and also taking up very important positions CEOs, for example. The problem for many such women now is how to balance all the different kind of responsibilities that they take on and that they want to take up. They have to balance family and work and maybe kids. Chinese woman really have a strong desire to do that. They want to grab a hold of all these things. They are willing and able. But there is the challenge of how to keep the balance.
In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.
If you are in the country, you should notice landmarks - that is, objects which help you to find your way or prevent you getting lost, such as distant hills, church towers, and nearer objects, such as peculiar buildings, trees, gates, rocks, etc.
Possibly it had occurred to him the colossal significance of that light had now vanished forever. [...] It had seemed as close as a star to the moon. Now it was a green light on a dock. His count of enchanted objects had diminished by one.
One interesting feature of criticism is seen in the ease with which it discovers what Addison called the specific quality of an author. In Livy, it will be the manner of telling the story; in Sallust, personal identification with the character; in Tacitus, the analysis of the deed into its motive. If the same test be applied to painters, it will find the prominent faculty of Correggio to be manifested in harmony of effect; of Poussin, in the sentiment of his landscapes; and of Raffaelle, in the general comprehension of his subject.
When you talk about objects, one other thing automatically comes attached to that thing, and that is gestures: how we manipulate these objects, how we use these objects in everyday life. We use gestures not only to interact with these objects, but we also use them to interact with each other.
The mind of the painter must resemble a mirror, which always takes the colour of the object it reflects and is completely occupied by the images of as many objects as are in front of it.
The beauty comes with the balance. Everyone should find his own balance in his personal as well as his professional life. Once you do so, you will feel and look beautiful
The beauty comes with the balance. Everyone should find his own balance in his personal as well as his professional life. Once you do so, you will feel and look beautiful.
One of the biggest struggles that I've faced and overcome is finding a balance between emotion and facilitating it through logical means. One of the biggest challenges I have is finding that balance. This emotional mess that I am and this logical side of me, I try to find the medium that will balance me out. I think that's my big mission statement in life: to find that balance. It's a negative-positive and how that relates.
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