A Quote by Janet Burroway

If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background. — © Janet Burroway
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
There is no foreground or background, only a continuity of interlacing relationships
So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.
If there's no background, no foreground, no opposition, no complements, then there's no change becasue there's no subject and object.
Moving ourselves to the background and others to the foreground is evidence that the (spiritual) search is achieving its purpose.
What's genius about 'Gravity' is that you are close upon the actors, but 3D works best when you have foreground, middle ground and background.
As a child, I'd always liked cowboys and Indians stories where there were two layers - gruesome in the foreground but funny in the background.
Start with the foreground. Compositions fail when the foreground is treated as an afterthought.
When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
I tend to work on the principle that much humour relies on cognitive dissonance - on the foreground not matching the background, on the protagonist's response to a situation being inappropriate, and so on.
Everyone is aware of the fact that visual and auditive perspective are identical; the only difference being that they are created and perceived by two physically different organs, the eye and the ear. How often the playing of a great master makes us think of a picture with a deep background and varying planes; the figures in the foreground almost leap out of the frame whereas in the background the mountains and clouds are lost in a blue haze.
The American landscape has no foreground and the American mind no background.
I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.
Ideas' can be only in the distant background of a work of art, something like a very low horizon. In the middle distance and foreground... there shouldn't be any 'ideas' visible.
There is in my work a very strong religious foreground and background. In the later work some of that tends to diminish, but it's certainly present in the early work.
I never work with music. I hate background music, always did. I only like music in the foreground, meaning, deliberately listen to it, actually.
Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.
This site uses cookies to ensure you get the best experience. More info...
Got it!