A Quote by Frederick Hart
One senses the figures as passing by the tree line and, caught in the presence of the wall, turning to gaze upon it almost as a vision.
Related Quotes
Senses empower limitations, senses expand vision within borders, senses promote understanding through pleasure.
I discover vision, not as a 'thinking about seeing,' to use Descartes expression, but as a gaze at grips with a visible world, and that is why for me there can be another's gaze.
Reason is the cause of our falsification of the evidence of the senses. In so far as the senses show becoming, passing away, change, they do not lie.
Pale and pinched-up faces hovered about the windows where was tempting food; hungry eyes wandered over the profusion guarded by one thin sheet of brittle glass--an iron wall to them; half-naked shivering figures stopped to gaze at Chinese shawls and golden stuffs of India.
I started finding hearts in things - whether it was like, a tree I was passing, a straw wrapper on the ground, I think the heart has one continuous line, which is very powerful.
I started finding hearts in things - whether it was like, a tree I was passing, a straw wrapper on the ground; I think the heart has one continuous line, which is very powerful.
People think I live here on Nantucket and just gaze at the ocean, getting my inspiration. Not so. I work in my basement and gaze out onto a single window that shows me a cement wall. This is a profession, and it's important to have professionalism about the writing.
It boggles my mind that someone can see life breathed into a baby, watch the grass die and then come to life again, see leaves fall and watch the rebirth of a tree, or gaze on any of the majestic splendor that is this earth and not be overpowered by the presence of an Almighty God!
The artist is the only lover; he alone has the pure vision of beauty, and love is the vision of the soul when it is permitted to gaze upon immortal beauty.
Do you think it interests me that this painting represents two figures? These two figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. For me they are no longer two figures but shapes and colours, don't misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence.
The ancient dialogue between reason and the senses is almost always more interestingly and passionately resolved in favor of the senses.
A dead tree, cut into planks and read from one end to the other, is a kind of line graph, with dates down one side and height along the other, as if trees, like mathematicians, had found a way of turning time into form.
The planting of a tree, especially one of the long-living hardwood trees, is a gift which you can make to posterity at almost no cost and with almost no trouble, and if the tree takes root it will far outlive the visible effect of any of your other actions, good or evil.
When you are up against a wall, put down roots like a tree, until clarity comes from deeper sources to see over that wall and grow.
If a painting of a tree was only the exact representation of the original, so that it looked just like the tree, there would be no reason for making it; we might as well look at the tree itself. But the painting, if it is of the right sort, gives something that neither a photograph nor a view of the tree conveys. It emphasizes something of character, quality, individuality. We are not lost in looking at thorns and defects; we catch a vision of the grandeur and beauty of a king of the forest.
I would love to slip into the skin of a fish and know what it's like to be one. They have senses that I can only dream about. They have a lateral line down their whole body that senses motion, but maybe it does more than that.
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