A Quote by Maurice de Vlaminck
Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.
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We may say that feelings have two kinds of intensity. One is the intensity of the feeling itself, by which loud sounds are distinguished from faint ones, luminous colors from dark ones, highly chromatic colors from almost neutral tints, etc. The other is the intensity of consciousness that lays hold of the feeling, which makes the ticking of a watch actually heard infinitely more vivid than a cannon shot remembered to have been heard a few minutes ago.
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
We've achieved this feeling, for instance, with the colors. The colors in the park are harmonious with each other, not like in big cities where they don't.
Life is a big ol' canvas. And you have every combination of colors to paint with.
I remain persuaded of the inevitable and necessary complementarity of man and woman. Love, imperfect as it may be in its content and expression, remains the natural link between these two beings. To love one another! If only each partner could move sincerely towards the other! If each could only melt into the other! If each would only accept the other's qualities instead of listing his faults! If each could only correct bad habits without harping on about them!
Before I started LimoLand, I mainly bought my clothes in Harlem, where I found clothing my size in fun colors. I still like to go there and see the vibrancy and colors of the neighborhood. I am also very influenced by the colors of my contemporary African and Japanese art collections.
My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the experience of my sensibility. Inspired by certain pages of Delacroix, an artist like Signac is preoccupied with complementary colors, and the theoretical knowledge of them will lead him to use a certain tone in a certain place. But I simply try to put down colors which render my sensation.
The pleasure a man gets from a landscape would [not] last long if he were convinced a priori that the forms and colors he sees are just forms and colors, that all structures in which they play a role are purely subjective and have no relation whatsoever to any meaningful order or totality, that they simply and necessarily express nothing....No walk through the landscape is necessary any longer; and thus the very concept of landscape as experienced by a pedestrian becomes meaningless and arbitrary. Landscape deteriorates altogether into landscaping.
I am always in the hope to express the love of two lovers by a marriage of two complementary colors - colors which marry each other... complement each other as a man and a woman do.
Each band or level, being a particular manifestation of the spectrum, is what it is only by virtue of the other bands. The color blue is no less beautiful because it exists along side the other colors of a rainbow, and "blueness" itself depends upon the existence of the other colors, for if there were no color but blue, we would never be able to see it.
Jimmy Baldwin was the creator of contemporary American speech even before Americans could dig that. He created it so we could speak to each other at unimaginable intensities of feeling, so we could make sense to each other at yet higher and higher tempos.
One color alone means nothing. I acts as in a vacuum, with no other colors to relate to. It is only when colors relate to other colors that the fun begins.
We are foolish, and without excuse foolish, in speaking of the superiority of one sex to the other, as if they could be compared in similar things! Each has what the other has not; each completes the other; they are in nothing alike and the happiness and perfection of both depend on each asking and receiving from the other what the other only can give.
If a given combination of trees, mountains, water, and houses, say a landscape, is beautiful, it is not so by itself, but because of me, of my favor, of the idea or feeling I attach to it.
I applied streaks and blobs of colors onto the canvas with a palette knife, and I made them sing with all the intensity I could.
The vivacity and brightness of colors in a landscape will never bear any comparison with a landscape in nature when it is illumined by the sun, unless the painting is placed in such a position that it will receive the same light from the sun as does the landscape.
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