A Quote by Lawren Harris
Every work of art which really moves us is in some degree a revelation: it changes us.
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I believe in revelation, but not in revelation which each religion claims to possess, but in the living revelation which surrounds us on every side - mighty, eternal, unceasing, incorruptible, clear, distinct, universal as is the being from whom it proceeds, in that revelation which speaks to us and penetrates us from the moment we are born until we die.
In our learning, let us not neglect the fountain of revelation. The scriptures and the words of modern-day apostles and prophets are the sources of wisdom, divine knowledge, and personal revelation to help us find answers to all the challenges in life. Let us learn of Christ; let us seek out that knowledge which leads to peace, truth, and the sublime mysteries of eternity.
In the life of every man there are sudden transitions of feeling, which seem almost miraculous. At once, as if some magician had touched the heavens and the earth, the dark clouds melt into the air, the wind falls, and serenity succeeds the storm. The causes which produce these changes may have been long at work within us, but the changes themselves are instantaneous, and apparently without sufficient cause.
Do not forget, read a passage from the Gospel every day. It is the power that changes us, that transforms us, it changes life and it changes the heart.
I work a lot of hours, and in this business you really try to keep as busy as you possibly can. Sometimes when you really focus on kids in your free time you lose the husband and wife relationship to some degree. It's been a real focus for us to make sure we stay focused on us two.
The finality of Christs redemption for us is intimately tied to the finality of his revelation to us. . . . If we say revelation is not complete, we must admit that somehow the work of redemption also remains unfinished. . . . Scripture is enough because the work of Christ is enough. They stand or fall together.
Why God should want and need us is a mystery. But it is true: otherwise he would not have created us and life would ultimately have no meaning for us. It is good to remember that in God the is a constancy, a consistency of attitude which never changes, irrespective of what we are or how we act: he never changes in is wanting us or needing us.
A literary creation can appeal to us in all sorts of ways-by its theme, subject, situations, characters. But above all it appeals to us by the presence in it of art. It is the presence of art in Crime and Punishment that moves us deeply rather than the story of Raskolnikov's crime.
There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless.
Is the Mona Lisa an 'accurate' representation of the actual human model for the painting? Who knows? Who cares? It's a great piece of art. It moves us. It makes us wonder, makes us gape - finally makes us look inward at ourselves.
Art doesn't want to be familiar. It wants to astonish us. Or, in some cases, to enrage us. It wants to move us. To touch us. Not accommodate us, make us comfortable.
Beauty means this to one person, perhaps, and that to the other. And yet when any one of us has seen or heard or read that which to us is beautiful, we have known an emotion which is in every case the same in kind, if not in degree; an emotion precious and uplifting.
But the most valuable lesson he taught me was this: Every day we get older, and some of us get wiser, but there's no end to our evolution. We are all a mess of contradictions; some of our traits work for us, some against us.
Our vanity, our passions, our spirit of imitation, our abstract intelligence, our habits have long been at work, and it is the task of art to undo this work of theirs, making us travel back in the direction from which we have come to the depths where what has really existed lies unknown within us.
It reveals us to ourselves, it represents those modulations and temperamental changes which escape all verbal analysis, it utters what must else remain forever unuttered and unutterable; it feeds that deep, ineradicable instinct within us of which all art is only the reverberated echo, that craving to express, through the medium of the senses, the spiritual and eternal realities which underlie them.
Every artist is linked to a mistake with which he has a particular intimate relation. There is the mistake of Homer, of Shakespeare — which is perhaps, for both, the fact of not existing. Every art draws its origin from an exceptional fault, every work is the implementation of this original fault, from which come to us a new light and a risky conception of plenitude.
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