A Quote by Dolly Parton

I compare myself to a good barn. You can have a good barn, and if you paint it, it looks a little better. But if you take the paint off, it's still a good barn. — © Dolly Parton
I compare myself to a good barn. You can have a good barn, and if you paint it, it looks a little better. But if you take the paint off, it's still a good barn.
Arguably, if you view a real barn in bright sunlight and close by, while fully alert and otherwise in good shape, then you do know whether or not you see a barn. You have "animal" knowledge, says my virtue theory, through the first-order aptness of your judgment.
Once you've seen the signs about the barn, it becomes impossible to see the barn.
You attain aptness by judging while in good shape and in a good situation (good light, good distance, etc.), through the exercise of good barn-sorting epistemic competence.
Another night, I dreamed I saw my father sweeping out the barn floor clean, and would not suffer the wheat to be brought in the barn. He appeared to me to be in anger.
I learned to paint at home from my mom. She was a very good teacher, but with spray paint, I taught myself. Spray paint is impossible. They say it takes a decade to really learn spray paint and be good with it. I've been at it about ten years now and am now really just getting good and confident with it.
My dream is to have a creativity barn, in my back yard, which is full of musical instruments and every kind of paint and oils and paper, and you can just go in and make something.
I like a man who likes to see a fine barn as well as a good tragedy.
Any jackass can kick down a barn, but it takes a good carpenter to build one.
When I speak of home, I speak of the place where in default of a better--those I love are gathered together; and if that place where a gypsy's tent, or a barn, I should call it by the same good name notwithstanding.
Do not let any sweet-talking woman beguile your good sense with the fascinations of her shape. It's your barn she's after.
We always need to be prepared and work hard in practice so we can be just like the farmer who has put that fourth cutting of hay in the barn. After he does that, he can feel good about what is going to happen the rest of the winter.
I'm into using acrylic, in a complicated kind of way: Making it just as good as oil paint - better, maybe. It's odd - when I started out, acrylic was for children, pretty much. It was a cheaper paint. It wasn't supposed to look very good or last very long.
I like to have a person's knowledge comprehend more than one class of topics, one row of shelves. I like a person who likes to see a fine barn as well as a good tragedy.
Cosmic upheaval is not so moving as a little child pondering the death of a sparrow in the corner of a barn.
Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture - no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good - better than anything I could ever say on the subject.
If you don't think a film looks good then that is just a reflection of how bad the artist was that was using the paint that is really good.
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