A Quote by Jean-Baptiste Camille Corot

I work on all parts of my painting at once, improving it very gently until I find that the effect is complete. — © Jean-Baptiste Camille Corot
I work on all parts of my painting at once, improving it very gently until I find that the effect is complete.
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?
I don't find that writing about parts of my life had much effect except in some cases to improve my memory. To get into parts of the past I want to recall very vividly, I use a form of directed meditation.
We're very lucky, men, that there are these fabulous parts. Women - once you've done all the parts in Shakespeare, they start running out. So you can pick and choose and find something to energise you.
The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.
You've really got to keep on improving and improving and improving. It still involves work. It's not like you get to a point, and then you're good and that's it.
A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then the painter realises that it is only a picture he is painting. Until then he had almost dared to hope the picture might spring to life.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
The trap does not work until all the parts were there. The system itself doesn't work until you fit all of them together.
Painting is at once a form of meditation and an utter, complete personal engagement with life.
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. And that - I do that by manipulating how and where I cut and what succession of images I work with.
My father is a well known artist, Ted Dyer, who has been painting for many years. Our work is very different, but growing up surrounded by paintings, paints, easels and art books does have an effect.
Once you get on stage, everything is right. I feel the most beautiful, complete, fulfilled. I think that's why, in the case of noncompromising career women, parts of our personal lives don't work out. One person can't give you the feeling that thousands of people give you.
I've actually thought very little about solo work up until just very recently. Most of it is because in my band, Incubus, it is very much a collaborative effort. I do what I do in the band, and everyone plays their respective parts, but in the end, we are sort of a democratic process.
What's frustrating as an actor, when you want to work hard, you can only work once that phone rings and then you can only work until the production wraps. Then you have to find another job.
Once my paintings are complete, the model no longer lives in the painting as themselves. I see something bigger, more symbolic - an archetype.
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