A Quote by Jean-Baptiste Camille Corot

Never lose the first impression which has moved you. — © Jean-Baptiste Camille Corot
Never lose the first impression which has moved you.
Set up your study or picture in an orderly fashion. This order should not cramp either the linearist or the colorist... Never lose sight of that first impression by which you were moved.
My theory about meeting people,' he said,'is that it's better not to make a really good first impression. Because it's all downhill from there. You're always having to live up to that first impression, which was just an illusion.
The first impression that I liked doing was an impression of Cheri Oteri's Barbara Walters impression on 'SNL.' I found that I could mimic that pretty well, and people got a kick out of that.
You only get one chance to make the first impression. And I made the biggest first impression ever by throwing the Big Show over the top rope.
First impression is unfair, because a first impression of somebody is guarded, and you don't know the person.
A visual always brings a first impression. But if there's going to be a first impression, I might as well use it to control the story. So why not do something like throw a mask on?
We can never lose what is really ours. Who can lose his being? Who can lose his very existence? If I am good, it is the existence first, and then that becomes colored with the quality of goodness. If I am evil, it is the existence first, and that becomes colored with the quality of badness. That existence is first, last, and always; it is never lost but ever present.
Cover the canvas at the first go, and then work on till you see nothing more to add ... Don't proceed according to rules and principles, but paint what you observe and feel. Paint generously and unhesitatingly, for it is best not to lose the first impression.
This is going to be a hard task for you, first to attain and then to lose - because you can lose only something which you possess. If you don't possess it, how can you lose it?
People have this impression that once you move to America, that becomes your interest. But I never moved to Los Angeles; I stayed in New York because I do theatre, so my aim is not just Hollywood.
I had no idea when I moved to Nashville people just were songwriters. I had no idea. So I guess I was selling myself as a singer when I first moved here. But then right after I first moved, I started writing a lot.
I've seen promotions rush things to market and not be strategic about it. The first impression is the lasting impression.
After finishing the first draft, I work for as long as it takes (for two or three weeks, most often) to rework that first draft on a computer. Usually that involves expansion: filling in and adding to, but trying not to lose the spontaneous, direct sound. I use that first draft as a touchstone to make sure everything else in that section has the same sound, the same tone and impression of spontaneity.
I think we've moved to thinking of parenting and pregnancy as something in which you should lose yourself.
It is by sympathy we enter into the concerns of others, that we are moved as they are moved, and are never suffered to be indifferent spectators of almost anything which men can do or suffer. For sympathy may be considered as a sort of substitution, by which we are put into the place of another man, and affected in many respects as he is affected.
When I lose my marbles which is never, when I lose my energy, I travel the world today for Viacom, China, Turkey, Dubai, Kuwait. When that happens, I'll know enough to retire, but that's never gonna happen. I'm here for forever.
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