A Quote by Joaquin Sorolla
As far as outdoor work is concerned, a studio is only a garage; a place in which to store pictures and repair them, never a place in which to paint them.
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The United Nations cannot do anything, and never could; it is not an animate entity or agent. It is a place, a stage, a forum and a shrine... a place to which powerful people can repair when they are fearful about the course on which their own rhetoric seems to be propelling them.
I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
Vehicle donation programs have existed forever, but the typical model loses a lot. There had to be a place to store them, people who could only go out so far regionally to pick them up.
Six feet under the stars is a place that doesn't exist. It's a place in your mind where everything and anything is possible. It's a place with no rules or limitations. It's a place where only two people can be at a time where no one can judge them and no one could try to break them apart.
I'm so glad that we have had so many consequential rallies and parades which have now educated people and made them stand up for the third gender and give them the absolute place in our society that they deserve. There should have never been a division in the first place, though.
I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.
The good news of suffering is that it brings us to the end of ourselves - a purpose it has certainly served in my life. It brings us to the place of honesty, which is the place of desperation, which is the place of faith, which is the place of freedom.
You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.
For me it is a matter of respect for the ideas in the work and the people who look at them. I absolutely hate it when works come back to the studio for repair, and I try to make sure that they never do.
As far as films are concerned, I would take up only those roles which are challenging and have some substance in them.
As far as I was concerned men were something you had around the place, not particularly interesting, but quite harmless. I had never shown the slightest feeling for them, and apart from my never wearing a skirt, saw nothing else in common between us.
Neurologically, I'm a quadriplegic, so virtually everything about my work has been driven by my learning disabilities, which are quite severe, and my lack of facial recognition, which I'm sure is what drove me to paint portraits in the first place.
Those who are not very concerned with art want poems or pictures to record for them something they already know - as one might want a picture of a place he loves.
The world could only be known as it existed in men's hearts. For while it seemed a place which contained men it was in reality a place contained within them.
The world was a terrible place, cruel, pitiless, dark as a bad dream. Not a good place to live. Only in books could you find pity, comfort, happiness - and love. Books loved anyone who opened them, they gave you security and friendship and didn't ask anything in return; they never went away, never, not even when you treated them badly.
Most of all, I like the quiet, rounded tugs. They remind me of women. As I watch them work I see them as kindly, no-fuss boats which patiently tend much larger, grander and more important-looking ships. They make sure these ships get to the right place as the right time, shepherding them with a pull or a push as needed. Their power is not immediately obvious but it is there - inside. I watch them a lot and never tire of seeing their unsung but absolutely essential work. The silent strong women of the sea.
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