A Quote by Louis Aragon

The painting of tomorrow will use the photographic eye as it has used the human eye. — © Louis Aragon
The painting of tomorrow will use the photographic eye as it has used the human eye.
What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.
I have world class photographic red-eye pretty much all the time. As a general rule, if it's taken with a flash, I look like I am possessed by the blazing forces of darkness, at least in the eye department.
If done well, I believe the photographic representation of the human subject has the potential to be more revealing than what is revealed by the eye alone, since the human glance is usually a momentary one.
Painting is a matter of finding the right balance between consoling and reassuring the eye and challenging and disturbing the eye.
That cactus went right through my eye. It left my eye flat. They took me to a doctor, and he said, 'We'll have to take the eye out.' ...I fought like a tiger. I said, 'No! Leave the eye alone. I am sure it will grow back.' The doctor said, 'You're too young to know.' ...But in a year's time that fluid came back, and that eye is just as good as the other one today.
Ahab cast a covetous eye at Naboth's vineyard, David a lustful eye at Bathsheba. The eye is the pulse of the soul; as physicians judge of the heart by the pulse, so we by the eye; a rolling eye, a roving heart. The good eye keeps minute time, and strikes when it should; the lustful, crochet-time, and so puts all out of tune.
I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience. With these abstract pictures, although the eye recognizes them as photographic rather than painted, the eye also tries to connect them to reality. There's always this association machine working in the brain, and that is why it is important to me that they are actually photographic and not painted.
A full-spectrum approach to human consciousness and behavior means that men and women have available to them a spectrum of knowing - a spectrum that includes, at the very least, the eye of flesh, the eye of mind, and the eye of spirit.
You are not your body; you are the eye. When you see the spirit, you are free of the body. A human being is an eye – the rest is just flesh and bones. Whatever your eye sees, you are that.
I can act with either eye, but you've got to be twice as good as an actor to act with one eye. You need to put all your emotions just through one eye and really punch it out of that eye. I found it quite difficult to do at first, and then I found a technique that allowed me to act with one eye, which I patented.
In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.
It is important that the painting can be inhabited, so that the mind's eye, or the eye's mind, can move about it credibly.
When there's a painting in the room, my eye goes right to it. It's like if you go into a bar and there's a television on, you can't take your eyes off the television. Paintings have that effect on me. It's where my eye settles.
Don't worry, it's very clear that the painting was done by a human, most likely a human with one eye removed and a feverent if incorrect understanding of design and anatomy.
If I hold up a red square for 30 seconds and take it away, you will see a perfect green square. It's how the eye works. So if you want to paint a really good red painting, you have to strategically place in some green, so the eye is brought back.
Let's face it, the human eye is clumsy, sloppy, and unintelligible when compared to the camera's eye.
This site uses cookies to ensure you get the best experience. More info...
Got it!