A Quote by Bruce Chatwin

I learned about Chinese ceramics and African sculptures, I aired my scanty knowledge of the French Impressionists, and I prospered. — © Bruce Chatwin
I learned about Chinese ceramics and African sculptures, I aired my scanty knowledge of the French Impressionists, and I prospered.
I think ceramics are so amazing because they're incredibly educational - you can buy something made in the 14th century, and it looks like it was made yesterday. There's something to be learned there, and ceramics can tell you the history of the time because they're functional vessels, ultimately.
When African-Americans come to France, the French show them more consideration than they would show an African or a Black Caribbean. When African-Americans come to France, the French people are like, 'Oh, wow. Oh my God.' But if it's an African, they're like, 'Whatever.' It's all because of the past, because of our history.
I learned to say 'hello' in German, French, Spanish, Dutch, Chinese, Indonesian, and Italian - languages of the countries I've visited.
Words were written out for me phonetically. I learned to quack in French, Spanish, Portuguese, Japanese, Chinese and German.
The chief concern of the French Impressionists was the discovery of balance between light and dark.
How pathetically scanty my self-knowledge is compared with, say, my knowledge of my room. There is no such thing as observation of the inner world, as there is of the outer world.
When you set a play in the French Quarter in New Orleans, it's hard not to acknowledge the whole African-American, French, white mixing of races. That's what the French Quarter is: it's a Creole community.
The Chinese, the African, and the European - they are all there. So the division of the Caribbean experience into being emphatically only African is absurd.
I was always doing films, but the ceramics didn't come until later. I did take ceramics in university, which gave me an appetite for the medium, but I couldn't figure out what I wanted to do with it yet.
The other day I started to take a course in psycho-ceramics. What is psycho-ceramics? It's the study of crackpots.
I learned French in Tunis, along with Arabic. I also learned French history. I knew the entire history of the kings of France. And I was fascinated by Versailles.
I took a number of graphic courses, lithography and etching and wood engraving [at Art Institute]. And particularly as I got more and more into ceramics, I thought, life drawing doesn't have anything to do with ceramics.
All inspired painters are impressionists, even though it be true that some impressionists are not inspired.
I learned about poise and dignity, and I learned about what it means to be an African-American in television and what that requires in terms of what kind of position you take for yourself and how you define your own reality in a world that is still finding its footing, to say the least.
Even if I am French, I have African roots. Helping African sport to develop is something that is very important to me. If I can use my reputation or other means to help, then I will.
I've prospered because of my father. I know I'll never be his equal, but I've prospered because I've honoured my parents.
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