A Quote by Michelangelo
It is better decoration when, in painting, some monstrosity is introduced for variety and a relaxation of the senses and to attract the attention of mortal eyes, which at times desire to see that which they have never seen.
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The spirit, if it could be seen with mortal eyes, would appear in bodily shape like a full-grown person with individual endowments that make it a counter-part of the body in which it [resides,] "that which is temporal in the likeness of that which is spiritual." (D&C 77:2.) It was that which came from God and entered at birth into the infant body prepared by its mortal parents. The spirit was of the "Lord from heaven." The physical body was "of the earth, earthy," (2 Cor. 15:47) or in other words, composed of the elements of which the things in the physical world are composed.
Then we have the silence of the eyes which will always help us to see God. Our eyes are like two windows through which Christ or the world comes to our hearts. Often we need great courage to keep them closed. How often we say, I wish I had not seen this thing, and yet we take so little trouble to overcome the desire to see everything.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
We have five senses in which we glory and which we recognize and celebrate, senses that constitute the sensible world for us. But there are other senses - secret senses, sixth senses, if you will - equally vital, but unrecognized, and unlauded ... unconscious, automatic.
The number of the fixed stars which observers have been able to see without artificial powers of sight up to this day can be counted. It is therefore decidedly a great feat to add to their number, and to set distinctly before the eyes other stars in myriads, which have never been seen before, and which surpass the old, previously known stars in number more than ten times.
With five feeble senses we pretend to comprehend the boundlessly complex cosmos, yet other beings with wider, stronger, or different range of senses might not only see very differently the things we see, but might see and study whole worlds of matter, energy, and life which lie close at hand yet can never be detected with the senses we have.
Alix [MacKenzie], on the other hand, found that her painting would translate much more readily into decoration, and she could play with the spacing and the intensity of imagery on the form in a way which I could not. So that when we established our pottery, I was most unhappy with my decoration.
But the greatest obstacle of all to the successful prosecution of a new branch of industry in a country, in which it was before unknown, consists . . . in the bounties, premiums, and other aids which are granted, in a variety of cases, by the nations, in which the establishments to be imitated are previously introduced.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
A painting can't be everything. You have to stop, at some point. It has to be finished, if you want anyone to see it. Some people just continue to work on things, forever. I don't know which is better.
I do not mistrust reality, of which I know next to nothing, but I am suspicious regarding the image of reality which our senses convey to us, and which is incomplete and limited. Our eyes have developed such as to survive. It is merely coincidence that we can see stars with them, as well.
What is it, in your opinion, to be a great nobleman? It is to be master of several objects that men covet, and thus to be able to satisfy the wants and the desires of many. It is these
wants and these desires that attract them towards you, and that make them submit to you: were it not for these, they would not even look at you; but they hope, by these services... to obtain
from you some part of the good which they desire, and of which they see that you have the disposal.
When the Artist rises high enough to achieve the Beautiful, the symbol by which he makes it perceptible to mortal senses becomes of little value in his eyes, while his spirit possesses
itself in the enjoyment of the reality.
When a mortal man speaks anything of that eternal blessedness of the saints in glory, he is like a blind man discoursing about the light which he has never seen, and so cannot distinctly speak anything concerning it. He also said that "In a way it is akin to a man writing a travel guide for a land he has never visited or seen. It is to attempt to describe the indescribable with words which cannot come close to expressing the glory of heaven.
"Ultimate reality" is the highest, deepest, eternal, unchangeable, source and ground of everything we see, touch, and experience with our five senses. It's that which gives being and meaning to everything finite, mortal, changeable. It's also that toward which we creatures look and live - whether we know it or not - our telos; our goal and purpose.
The desire to never leave your side, the desire to never see you again. The desire to see your face asleep on the pillow beside my face and to see your eyes open in the morning when I lie next to you—just watching you, waiting for you to wake up.
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