A Quote by Nigel Cooke
Small thoughts grow into a picture. It may suggest an individual or it may suggest a place, but generally the painting's job is to work that [idea] into an abstract proposition that is completely removed from the starting point.
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Not only may she unconsciously register a favorable impression with my associates and me, but she may also suggest something by her work that will lead to some new and novel feature in a forthcoming production.
I begin painting and as I paint the picture begins to assert itself, or suggest itself, under my brush. The form becomes a sign for a woman or a bird as I work... The first stage is free, unconscious... the second stage is carefully calculated.
The width of a line may present the idea of infinity. An epigram may contain a world. In the same way, a small picture format may be much more living, much more leavening, stirring, awakening, than square yards of wall space.
if you think it so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.
I think the idea of embracing the process, creating something, no matter how thin it is, that you can call a starting point - whether it's a word or it's an idea, or it's a little piece of narrative that you might base a film on - starting that journey of making the work. That's also something that every individual does very differently.
And here in my isolation I can grow stronger. Poetry seems to come of itself, without effort, and I need only let myself dream a little while painting to suggest it.
Autobiographies are only useful as the lives you read about and analyze may suggest to you something that you may find useful in your own journey through life.
When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
Painting is the only universal language. All nature is creation's picture book. Painting alone can describe every thing which can be seen, and suggest every emotion which can be felt. Art reaches back into the babyhood of time, and is man's only lasting monument.
A man's knowledge may be said to be mature, in other words, when it has reached the most complete state of perfection to which he, as an individual, is capable of bringing it, when an exact correspondence is established between the whole of his abstract ideas and the things he has actually perceived for himself. His will mean that each of his abstract ideas rests, directly or indirectly, upon a basis of observation, which alone endows it with any real value; and also that he is able to place every observation he makes under the right abstract idea which belongs to it.
There may or may not be an idea, and the meaning may just be that the painting exists.
Between labor and play stands work. A man is a worker if he is personally interested in the job which society pays him to do; whatfrom the point of view of society is necessary labor is from his point of view voluntary play. Whether a job is to be classified as labor or work depends, not on the job itself, but on the tastes of the individual who undertakes it. The difference does not, for example, coincide with the difference between a manual and a mental job; a gardener or a cobbler may be a worker, a bank clerk a laborer.
The extraordinary nature of individual black achievement in formerly white domain certainly does suggest that the old Jim Crow is dead, but it doesn't necessarily mean the end of racial caste - if history is any guide, it may have just taken a different form.
A proposition is completely logically analyzed if its grammar is made completely clear: no matter what idiom it may be written or expressed in.
It may well seem that Plato does suggest techne is the best model for moral knowledge. In other words, it may seem that his goal is to establish an expert or authority in the field of the good-bad, just-unjust.
In our work, we are always between Scylla and Charybdis; we may fail to abstract enough, and miss important physics, or we may abstract too much and end up with fictitious objects in our models turning into real monsters that devour us.
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