A Quote by Diana Gabaldon

There's not a lot of pictorial evidence from the Highlands, because only the very wealthy had their portraits painted - but there is one well-known painting of the two sons of the Duke of Argyll, wearing tartan.
'The Irish Duke' is a sequel to 'The Decadent Duke' about Lady Georgina Gordon who married the Duke of Bedford. 'The Irish Duke' tells the story of their daughter, Lady Louisa, who married James Hamilton, the powerful and wealthy Duke of Abercorn.
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
In 1867, George Campbell, Duke of Argyll, had published The Reign of Law, a book that Darwin found deeply annoying. A supporter of Richard Owen, Campbell argued that while evolution (or Development) might be observable in the fossil record, it was merely evidence of God's purpose. God, for example, would cause horses and oxen to evolve in time to meet human needs. The brightly colored plumage of birds, Campbell went on, were simply God's decorations of nature for humanity's enjoyment.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
Crony capitalism is alive and well: the big are bigger, the wealthy are getting wealthier because, with a very large powerful complicated government, which is what we have and which Democrats want more of, only the big, the powerful, the wealthy and the well connected can survive.
All my forebears worked for a living. My grandfather painted portraits. My mother too. My aunt painted seascapes.
It's not a bad problem to have because a lot of classic acts are known for one or two songs and in their show they basically hold those songs off until the end and you sit through an hour or so of lesser known material but in our case most of the songs are well known.
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
I've painted in the past, but I only average about one painting a year, and the last painting I did, I actually really liked.
AJ Styles, he is very well established, very well known. He had a name that was very well known. I would think, outside of WWE, his might be the most outside-recognized wrestling name in the world. Samoa Joe as well. He could have debuted straight to Raw or SmackDown, absolutely.
When the Duke [W.J.C. Scott-Bentinck] died, his heirs found all of the aboveground rooms devoid of furnishings except for one chamber in the middle of which sat the Duke's commode. The main hall was mysteriously floor less. Most of the rooms were painted pink. The one upstairs room in which the Duke had resided was packed to the ceiling with hundreds of green boxes, each of which contained a single dark brown wig. This was, in short, a man worth getting to know.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
I think, at the L.A. County Museum of Art, I saw my first example of Kerry James Marshall, who had a very sort of heroic, oversized painting of black men in a barbershop. But it was painted on the same level and with the same urgency that you would see in a grand-scale [Anthony] van Dyck or [Diego] Velazquez. The composition was classically informed; the painting technique was masterful. And it was something that really inspired me because, you know, these were images of young, black men in painting on the museum walls of one of the more sanctified and sacred institutions in Los Angeles.
I made three visits during my senior year of high school to Duke, UNC, and Virginia. If I hadn't gone to Duke, I would have went to Carolina, just like a lot of Carolina players who, had they not gone there, would have went to Duke.
When a buddha is painted, not only a clay altar or lump of earth is used, but the thirty-two marks, a blade of grass, and the cultivation of wisdom for incalculable eons are used. As a Buddha has been painted on a single scroll in this way, all buddhas are painted buddhas, and all painted buddhas are actual buddhas.
Photography freed painting from a lot of tiresome chores, starting with family portraits.
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