A Quote by Mervyn Levy

An intrinsic part of the whole delicious, exuberant fun, and joy of painting consists in simply not having to bother about making a mess, either of one's person, or of the surroundings in which one is at work.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Can you go a whole day with joy in your heart? Joy and vitality are an inseparable combination. Joy is not concerned with having fun; it is an inner spiritual quality that overcomes despair, pain and defeat. You cannot turn on joy like an electric light, but you can prepare yourself to receive it.
Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.
For me, it's about having energy in the field and making sure I'm having fun and making sure everyone else around is having fun, whether it be telling a joke or something like that. It's to make sure we're all upbeat and we're ready to go.
... But all the feelings that evoke in us the joy or the misfortune of a real person are only produced in us through the intermediary of an image of that joy or that misfortune; the ingeniousness of the first novelist was in understanding that, in the apparatus of our emotions, since the image is the only essential element, the simplification which consists of purely and simply suppressing the factual characters is a definitive improvement.
I have never heard a dancer asking for advice about how to stay focused on her footwork, or a painter complaining about the dull day-to-day task of painting. What task worth doing isn't worth daily effort? Do you think Michelangelo was having fun the whole time he was on his back painting the Sistine Chapel's ceiling?
The spirit of Southwest Airlines is exuberant, it's caring, it's dedicated, it's diligent, it's fun, it's rewarding, it's a joy.
The freedom he gave himself to work and change shape and change ideas and work all the time with joy, the joy of painting was in [Publo] Picasso, which I found beautiful.
It's okay to take yourself too seriously if you're a serious actor and you've got the scrubs on. And then with me, it's kind of like, well, I'm a comedian, I'm making fun of everybody and everything. And I'm making fun of myself. I'm having fun making fun of and for other people.
What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.
When you're making a movie, you don't think about the outcome. That's something I'm grateful for: whenever I go and do a new project, I never think about the outcome. It's always just about the work at hand. That's the fun part. The other part is always something I've had a struggle with, which is promoting the film. I know it's important.
There aren't really rules for painting, but there’s certain facts and fictions about painting. Part of what I do is document another surface and sort of translate it. They’re like translations, and then part of it is fiction, which is invention.
A new person is to me a great event, and hinders me from sleep. I have often had fine fancies about persons which have given me delicious hours; but the joy ends in the day; it yields no fruit.
The opposite of love is not hate, its apathy, when u simply don't bother about that person!
A great deal of the joy of life consists in doing perfectly, or at least to the best of one's ability, everything which one attempts to do. There is a sense of satisfaction, a pride in surveying such a work, a work which is rounded, full, exact, complete in all its parts-which the superficial man, who leaves his work in a slovenly, slipshod, half-finished condition can never know. It is this conscientious completeness which turns work into art. The smallest thing, well done, becomes artistic.
You don’t know what goes on in anyone’s life but your own. And when you mess with one part of a person’s life, you’re not messing with just that part. Unfortunately, you can’t be that precise and selective. When you mess with one part of a person’s life, you’re messing with their entire life. Everything. . . affects everything.
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