A Quote by Edgar Degas
An artist must approach his work in the spirit of the criminal about to commit a crime.
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Criminal conspiracy requires not only that the conspirators know that a crime is going to be committed, but that they knowingly intend to help each other commit the crime - and then commit certain overt acts in connection with that conspiracy.
The artist must be like a heart surgeon. He must approach something with sympathy, but with a sort of coldness and work and work until he finds some kind of perfection in his work. You can't have blood splashing all over the place. Things must be done very cleanly.
I came to know that in many ways it was a crime to be Filipino in California .... I feel like a criminal running away from a crime I did not commit. And this crime is that I am a Filipino in America.
A man must commit a crime at least once in his life-time. Only then will his virtue be recognized
I think there is a lot of crime caused by desperation, and it doesn't mean that people commit crime because they're poor, but certainly a lot of people who are poor commit crime and they might not if they weren't poor. You understand the difference there? That's not news, but it comes up when I hear people say poverty doesn't affect crime - that crime is still going down in America even though the economy is bad.
A criminal is twice a criminal when he adds hypocrisy to his crime.
Abstract means literally to draw from or separate. In this sense every artist is abstract for he must create his own work from his visual impressions. A realistic or non-objective approach makes no difference. The result is what counts.
People should be allowed to document evidence of criminal wrongdoing. Where is the expectation of privacy if someone is conspiring to commit crime?
Before one can correctly understand the work of the Holy Spirit, he must first of all know the Spirit himself. A frequent source of error and fanaticism about the work of the Holy Spirit is the attempt to study and understand His work without, first of all, coming to know Him as a person.
If you commit a big crime then you are crazy, and the more heinous the crime the crazier you must be. Therefore you are not responsible, and nothing is your fault.
Many commit the same crime with a very different result. One bears a cross for his crime; another a crown.
The question eventually must be raised: Is it a criminal offense to take the name of the Lord in vain? When people curse their parents, it unquestionably is a capital crime (Ex. 21:17). The son or daughter is under the lawful jurisdiction of the family. The integrity of the family must be maintained by the threat of death. Clearly, cursing God (blasphemy) is a comparable crime, and is therefore a capital crime (Lev. 24:16).
The critic, to interpret his artist, even to understand his artist, must be able to get into the mind of his artist; he must feel and comprehend the vast pressure of the creative passion.
The artist seeks contact with his intuitive sense of the gods, but in order to create his work, he cannot stay in this seductive and incorporeal realm. He must return to the material world in order to do his work. It's the artist's responsibility to balance mystical communication and the labor of creation.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
There is no den in the wide world to hide a rogue. Commit a crime, and the earth is made of glass. Commit a crime, and it seems as if a coat of snow fell on the ground, such as reveals in the woods the track of every partridge and fox and squirrel and mole.
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