A Quote by Eli Siegel

Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?
The repose necessary to all beauty is repose, not of inanition, nor of luxury, nor of irresolution, but the repose of magnificent energy and being; in action, the calmness of trust and determination; in rest, the consciousness of duty accomplished and of victory won; and this repose and this felicity can take place as well in the midst of trial and tempest, as beside the waters of comfort.
Repose and cheerfulness is the badge of the gentleman; repose in energy.
Repose and cheerfulness are the badge of the gentleman - repose in energy. The Greek battle pieces are calm; the heroes, in whatever violent actions engaged, retain a serene aspect.
The human mind feels restless and dissatisfied under the anxieties of ignorance. It longs for the repose of conviction; and to gain this repose it will often rather precipitate its conclusions than wait for the tardy lights of observation and experiment. There is such a thing, too, as the love of simplicity and system,--a prejudice of the understanding which disposes it to include all the phenomena of nature under a few sweeping generalities,--an indolence which loves to repose on the beauties of a theory rather than encounter the fatiguing detail of its evidences.
There is a kinship between music and painting - with the same words used to describe both, as when a musical composition is said to have color and a painting to have rhythm.
In every painting, as in any other work of art, there is always an IDEA, never a STORY. The idea is the point of departure, the first cause of the plastic construction, and it is always present all the time as energy creating matter. The stories and other literary associations exist only in the mind of the spectator, the painting acting as the stimulus.
Experience has proved that there is no difference between a so-called realist painting - of a landscape, for example - and an abstract painting. They both have more or less the same effect on the observer.
Repose is the secret of all contemplation and meditation, the secret of getting in tune with that aspect of life which is the essence of all things. When one is not accustomed to take repose, one does not know what is behind one's being.
In effect, painting is the still memory of [the artist's] human motion, and our individual responses to it depend on who we are, on our character, which underlines the simple truth that no person leaves himself behind in order to look at a painting.
Repose demands for its expression the implied capability of its opposite,--energy.
Man works outwardly and inwardly - after rest, he has energy; after energy, he needs repose; so, when we have given instruction for a time, we need instruction and must receive it, or the spirit faints and wisdom herself grows bitter.
True individuality is the repose arising from the relation of a self to all it has to do with. Bad individuality has in it a separation between outward action and a flat repose inwardly.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
The language of judicial decision is mainly the language of logic. And the logical method and form flatter that longing for certainty and for repose which is in every human mind. But certainty generally is illusion, and repose is not the destiny of man.
We combat obstacles in order to get repose, and when got, the repose is insupportable.
For retirement brings repose, and repose allows a kindly judgment of all things.
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