A Quote by Henri Matisse
The use of expressive colors is felt to be one of the basic elements of the modern mentality, an historical necessity, beyond choice.
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I like to use really basic or classic colors, things that people have seen over and over and over again. Primary colors, at least in photography, have been around a lot longer than neon colors and really vibrant purples, hot pinks. Red, blue, yellow, orange - because of Kodachrome and the way that things were produced I think that those colors stood out more than any others.
Bourgeois class domination is undoubtedly an historical necessity, but, so too, the rising of the working class against it. Capital is an historical necessity, but, so too, its grave digger, the socialist proletariat.
My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the experience of my sensibility. Inspired by certain pages of Delacroix, an artist like Signac is preoccupied with complementary colors, and the theoretical knowledge of them will lead him to use a certain tone in a certain place. But I simply try to put down colors which render my sensation.
None of the more apparently expressive elements involved in my work - color, form, application, and so on - are important or instructive in themselves. They're all just a means of entry, markers pointing beyond themselves towards something broader and less controlled.
What's most explosive about historical fiction is to use the fictional elements to pressure the history to new insights.
Snobbery is not merely a silly human weakness but something basic in the mentality of modern man-a symptom which reflects the general sickness, the dislocation of social and cultural values in contemporary civilization.
I may remark parenthetically that the modern apparatus of the theory of small samples, once it goes beyond the determination of its own specially defined parameters and becomes a method for positive statistical inference in new cases, does not inspire me with any confidence unless it is applied by a statistician by whom the main elements of the dynamics of the situation are either explicitly known or implicitly felt.
It's an enormous amount of work: there are 28 separate buildings, and I work on the choice of the colors for everything. Outside colors, balcony colors, etc.. And all of this has to work together, in harmony.
Walking away from fame, whether by choice or necessity, isn't a bad thing. In fact for many, it's likely saved their lives, careers, families and basic dignity. More celebrities should probably try it.
Manhood begins when we have in any way made truce with Necessity; begins even when we have surrendered to Necessity, as the most part only do; but begins joyfully and hopefully only when we have reconciled ourselves to Necessity; and thus, in reality, triumphed over it, and felt that in Necessity we are free.
Everything I know and I am and I have seen felt done past present past now then before now seen felt done hurt felt focus into a something beyond words beyond beyond beyond and it speaks now and it says. Stay. Fight. Live. Take it.
In my work, there's mechanism that is "real," which is formed from the historical concepts of the images that I'm working with. That doesn't fall completely into a cliché. There are elements about it that carry historical context and edges.
Go over to Greece with the Iliad and Odyssey. These have elements of history, and they have non-historical elements. It's very difficult to pull them apart. And I think there's not much reason to.
A moral choice in its basic terms appears to be a choice that favors survival: a choice made in favor of life.
To me, writing and composing are much more like painting, about colors and brushes; I don't use a computer when I write, and I don't use a piano. I'm at a desk writing, and it's very broad strokes and notes as colors on a palette.
I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.
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