A Quote by Kenneth Coutts-Smith

The 'public' artist confirms the world that we already accept, though he inevitably widens our experience of it; his method is one of research, the progressive uncovering of detail.
Whenever the truth is uncovered, the artist will always cling with rapt gaze to what still remains covering even after such uncovering; but the theoretical man enjoys and finds satisfaction in the discarded covering and finds the highest object of his pleasure in the process of an ever happy uncovering that succeeds through his own efforts.
If astronomy teaches anything, it teaches that man is but a detail in the evolution of the universe, and the resemblant though diverse details are inevitably to be expected in the hosts of orbs around him. He learns that, though he will probably never find his double anywhere, he is destined to discover any number of cousins scattered through space.
While one should always study the method of a great artist, one should never imitate his manner. The manner of an artist is essentially individual, the method of an artist is absolutely universal. The first personality, which no one should copy.
To accept Christ is to know the meaning of the words 'as he is, so are we in this world.' We accept his friends as our friends, his enemies as our enemies, his ways as our ways, his rejection as our rejection, his cross as our cross, his life as our life and his future as our future. If this is what we mean when we advise the seeker to accept Christ, we had better explain it to him. He may get into deep spiritual trouble unless we do.
Every artist of importance creates his own world, with its own laws - creates and shapes it in his own shape and image, and no one else's. This is why it is difficult to fit the artist into a world that has already been created, a seven-day, fixed and solidified world: he will inevitably slip out of the set of laws and paragraphs, he will be a heretic.
I am a comedian. I do feel I have to put my experience on a public stage. As an artist, that's what I do. Even though that sounds poncey.
In every artist we can perceive a man with both a message and a method. His message may be innate in him, but his method he has to acquire from others.
Any man who has once proclaimed violence as his method is inevitably forced to take the lie as his principle.
I went to Europe three times, I read dozens and dozens of books, I studied thousands of photos. But I always supplemented that research with imagination; research might give you detail, but imagination supplies the direction in which to apply all that detail.
Method means primarily a way or path of transit. From this we are to understand that the first idea of method is a progressive transition from one step to another in any course. If in the right course, it will be the true method; if in the wrong, we cannot hope to progress.
I wouldn't say I'm a method actor. I do research when I feel I don't have enough experience for the part I'm playing.
No, the secret is that there's no reward and we have to endure our characters and our natures as best we can, because no amount of experience or insight is going to rectify our deficiencies, our self-regard, or our cupidity. We have to learn that our desires do not find any real echo in the world. We have to accept that the people we love do not love us, or not in the way we hope. We have to accept betrayal and disloyalty, and, hardest of all, that someone is finer than we are in character or intelligence.
Praying is what confirms our true belief that we cannot succeed without God, and its absence confirms the exact opposite.
A man is a method, a progressive arrangement; a selecting principle, gathering his like to him; wherever he goes.
Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
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