A Quote by John Edgar Park
The painter tries to catch the magic of the lights and shadows and passing graces of the human face he paints, but he never wholly succeeds in overtaking the reality.
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Every human society has its lights and its shadows. That's the reality of existence.
An optimist is a person who sees only the lights in the picture, whereas a pessimist sees only the shadows. An idealist, however, is one who sees the light and the shadows, but in addition sees something else: the possibility of changing the picture, of making the lights prevail over the shadows.
When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance.
The portrait painter... If he insults his sitters his occupation is gone. Whether he paints the should instead of the features, or the latter with all its natural blemishes, he is as presumptuous as if he shouted, 'What a face. Hide it.' which would never do, although it is analogous to what landscape painters are doing every day.
Shadows are in reality, when the sun is shining, the most conspicuous thing in a landscape, next to the highest lights.
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
The muddy moods of oil paints are the painter's muddy humors, and its brilliant transformations are the painter's unexpected discoveries.
If people call me a Sunday painter I'm a Sunday painter who paints every day of the week!
There are many lights in the shadows and many shadows in the lights; lots of talents in the shades, lots of incompetents in the luminosities
The painter paints his brushes black, Through the canvas runs a crack, Portrait of the pain never answers back...
A background can be painted in the same range of values as the foreground by reversing the light effect. In the shadow plane, paint the lights cool and the shadows warm, and in the sunlight plane, paint the lights warm and shadows cool.
Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows.
There was a sky somewhere above the tops of the buildings, with stars and a moon and all the things there are in a sky, but they were content to think of the distant street lights as planets and stars. If the lights prevented you from seeing the heavens, then preform a little magic and change reality to fit the need. The street lights were now planets and stars and moon.
No waving of enchanted wands but heightened perception. No magic objects, but a transformed and enhanced reality. No spells or chants, but the raw power of the human will to enact supernatural change upon the universal fabric. This is the kind of "magic" that fills Lords of Rainbow - elemental, organic, humanistic - an extension of reality.
I believe in the invisible. I do not believe in the definitive reality of things around us. For me, reality is the intuition and the imagination and the quiet voice inside my head that says: isn't that extraordinary? The things in our lives are the shadows of reality, just as we ourselves are shadows.
White... is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black... God paints in many colours; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.
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