A Quote by Keith Crown
My problem is to bring together in a painting two seemingly conflicting, impossibly unmixable ideas. One is that the finished work shall evoke a sense of recognition, of the mysteriously familiar... the other is that in order to do the first I must deeply know my subject.
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A successful relationship is not about two people staring into each other's eyes, it's about two people looking ahead together. I think in order to construct, it's not just, "you do this, then I'll do this." It's more like, "let's work on these ideas together, and just move together, with these ideas." It does create a balance.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
We go into a relationship looking for love, not realizing that we must bring love with us. We must bring a strong sense of self and purpose into a relationship. We must bring a sense of value, of who we are. We must bring an excitement about ourselves, our lives, and the vision we have for these two essential elements. We must bring a respect for wealth and abundance. Having achieved it to some satisfactory degree on our own, we must move into relationships willing to share what we have, rather than being afraid of someone taking it.
Subjects who reciprocally recognize each other as such, must consider each other as identical, insofar as they both take up the position of subject; they must at all times subsume themselves and the other under the same category. At the same time, the relation of reciprocity of recognition demands the non-identity of one and the other, both must also maintain their absolute difference, for to be a subject implies the claim of individuation.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
What is called for is an exquisite balance between two conflicting needs: the most skeptical scrutiny of all hypotheses that are served up to us and at the same time a great openness to new ideas. If you are only skeptical, then no new ideas make it through to you. On the other hand, if you are open to the point of gullibility and have not an ounce of skeptical sense in you, then you cannot distinguish useful ideas from the worthless ones.
Content is more than 'subject matter.' It is all the feelings and ideas you bring to your painting.
In order to translate a sentence from English into French two things are necessary. First, we must understand thoroughly the English sentence. Second, we must be familiar with the forms of expression peculiar to the French language. The situation is very similar when we attempt to express in mathematical symbols a condition proposed in words. First, we must understand thoroughly the condition. Second, we must be familiar with the forms of mathematical expression.
No work of literature is the product of only one or two conscious ideas. A story is mysteriously dense of meaning.
Each painting has its own way of evolving. When the painting is finished, the subject reveals itself.
I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.
In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.
Therefore, if a great kingdom humbles itself before a small kingdom, it shall make that small kingdom its prize. And if a small kingdom humbles itself before a great kingdom, it shall win over that great kingdom. Thus the one humbles itself in order to attain, the other attains because it is humble. If the great kingdom has no further desire than to bring men together and to nourish them, the small kingdom will have no further desire than to enter the service of the other. But in order that both may have their desire, the great one must learn humility.
That deepest thing, that recognition, that knowledge, that sense of kinship began the first time I saw you,and it is the same now - only a thousand times deeper and tenderer. I shall love you to eternity. I loved you long before we met in this flesh. I knew that when I first saw you. It was destiny. We are together like this and nothing can shake us apart.
Shall I tell you what I think are the two qualities of a work of art? First, it must be indescribable, and second, it must be inimitable.
I should like to achieve free, spontaneous painting delineating a powerful, strong structured image. One must be possible with the other. A difficult problem in itself, but one which I shall achieve.
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