A Quote by Leonardo da Vinci
I say that in narrative paintings one should mingle direct contraries close by, because they produce strong contrasts with one another, and all the more so when they are very close together; that is, the ugly next to the beautiful, the big to the small, the old to the young, the strong to the weak; in this way you will vary as much as possible and close by.
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Perception is strong and sight weak. In strategy it is important to see distant things as if they were close and to take a distanced view of close things.
I just close my eyes and act like I'm a 3-year-old. I try to get as close to a childlike level as possible because we were all artists back then. So you just close your eyes and think back to when you were as young as you can remember and had the least barriers to your creativity.
When I need to take a side, I write a newspaper article and I tell my government, "You should not do that, you should do this." They don't listen to me, but I've been doing this for sixty years now. But, when I write a novel, I am not in that business. I follow the way people change. I follow the way people, who are very antagonized to one another become very close to one another and vice-versa. Sometimes I follow the way people who are intimately close to each other move apart.
If your parents were strong in one way and weak in another, you will be strong in the same way and weak in the same way. Even though you detest the weakness in them, you will find that you will do exactly the same things because they imprinted you.
The most sublime truth of all has never been stated or written or sung. Not because it is far away and can not be reached, but because it is so intimately close, closer than anything that can be spoken. It is alive as the stillness in the core of your being, too close to be described, too close to be objectified, too close to be known in the usual way of knowledge. The truth of who you are is yours already. It is already present.
If I'm a character, it's a biographical movie. My character is as close to me as possible. As close to being myself as possible. So my character, J. Cole, is very close to Jermaine Cole.
Nanda and I were very different individuals, quite the study in contrasts. But we were very close friends. Or maybe we were close friends because we were so different.
I’ve said about a million times that the best thing a young photographer can do is to stay close to home. Start with your friends and family, the people who will put up with you. Discover what it means to be close to your work, to be intimate with a subject. Measure the difference between that and working with someone you don't know as much about. Of course there are many good photographs that have nothing to do with staying close to home, and I guess what I'm really saying is that you should take pictures of something that has meaning for you
I follow the way people change. I follow the way people, who are very antagonized to one another become very close to one another and vice-versa. Sometimes I follow the way people who are intimately close to each other move apart. This is my business as a novelist. It is not about positions and ideas.
If the task of scientific methodology is to piece together an account of what scientists actually do, then the testimony of biologists should be heard with specially close attention. Biologists work very close to the frontier between bewilderment and understanding.
Biology is complex, messy and richly various, like real life; it travels faster nowadays than physics or chemistry (which is just as well, since it has so much farther to go), and it travels nearer to the ground. It should therefore give us a specially direct and immediate insight into science in the making.
When I was in high school, my thing was to get as close as humanly possible to a girl and just make her have to kiss me! You do the hug that's too close, where your mouth is close to hers and you kinda feel it out a little bit.
so I love you because I know no other way than this: where I does not exist, nor you, so close that your hand on my chest is my hand, so close that your eyes close as I fall asleep.
Go ahead. You're not going to walk in on anyone. I'm home alone." "The whole night?" Immediately, I realized it might not have been the smartest thing to say. "Dorothea will be coming soon." That was a lie. Dorothea was long gone. It was close to midnight. "Dorothea?" "Our housekeeper. She's old- but strong. Very strong." I tried to squeeze past him. Unsuccessfully. "Sounds frightening," he said, retrieving the key from the lock. He held it out for me. "She can clean a toilet inside and out in under a minute. More like terrifying.
It is possible I am pushing through solid rock, like the vein of ore encased, alone. I am such a long way in I can see no way through and no space. Everything is close to my face and everything close to my face is stone. I don't have much knowledge yet in grief, so this darkness makes me feel small. You, be the Master; Make yourself fierce; break in. And then your great transforming will happen to me And my great grief cry will happen to you.
It was only after I had been out of the art school that I actually copied a small Seurat, and I copied it in order to follow his thought, because if you do copy an artist, and you have a close feeling for him, in fact that you need to know more about his work, there is no better way than actually to copy, because you get very close indeed to how somebody thinks.
When you see Zlatan up close, he's even more imposing than on the television. Zlatan is very, very big, very strong, and his control of the ball is incredible. It can seem like he's not there, and then he goes and scores the decisive goal.
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