A Quote by Oscar Wilde

That very concentration of vision and intensity of purpose which is the characteristic of the artistic temperament is in itself a mode of limitation. To those who are preoccupied with the beauty of form nothing else seems of much importance.
The arts teach and moralise by their beauty alone, not by translating a philosophical or social formula. For the truly artistic person, painting has itself as it's purpose, which is quite enough.
This is a human form in which every Divine entity, every Divine principle, that is to say, all the names and forms ascribed by man to God, are manifest... You are very fortunate that you have the chance to experiences the bliss of the vision of the form, which is the form of all gods, now, in this life itself.
The artistic temperament is a disease that affects amateurs. Artists of a large and wholesome vitality get rid of their art easily, as they breathe easily or perspire easily. But in artists of less force, the thing becomes a pressure, and produces a definite pain, which is called the artistic temperament.
What I believe is that people have many modes in which they can be. When we live in cities, the one we are in most of the time is the alert mode. The 'take control of things' mode, the 'be careful, watch out' mode, the 'speed' mode - the 'Red Bull' mode, actually. There's nothing wrong with it. It's all part of what we are.
It seems to me now that mathematics is capable of an artistic excellence as great as that of any music, perhaps greater; not because the pleasure it gives (although very pure) is comparable, either in intensity or in the number of people who feel it, to that of music, but because it gives in absolute perfection that combination, characteristic of great art, of godlike freedom, with the sense of inevitable destiny; because, in fact, it constructs an ideal world where everything is perfect and yet true.
Poetry seems especially like nothing else so much as itself. Poetry is not like, it is the very lining of the inner life.
Our entire case as members of The Church of Jesus Christ of Latter-day Saints rests on the validity of this glorious First Vision. ... Nothing on which we base our doctrine, nothing we teach, nothing we live by is of greater importance than this initial declaration. I submit that if Joseph Smith talked with God the Father and His Beloved Son, then all else of which he spoke is true. This is the hinge on which turns the gate that leads to the path of salvation and eternal life.
Prayer is the highest form, the supreme act of the Creative Imagination. ... For prayer is not a request for something: it is the expression of a mode of being, a means of existing and of causing to exist, ... The organ of Prayer is the heart, the psychospiritual organ, with its concentration of energy, its himma. ... Prayer is a "creator" of vision, ... .
[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.
It is not the natural movement of film that gives the objects their expression, but the artistic movement, that is to say, a rhythmical movement regulated by itself in which variations and pulsations form a part of the artistic design.
Maintaining concentration depends on what I call tunnel vision; nothing else in the world exists but the catcher's target, the hitter and my perfect delivery.
The reason why life may be judged to be trivial although at certain moments it seems to us so beautiful is that we form our judgment, ordinarily, not on the evidence of life itself but of those quite different images which preserve nothing of life-and therefore we judge it disparagingly.
I confess . . . that I am not myself very much concerned with the question of influence, or with those publicists who have impressed their names upon the public by catching the morning tide and rowing very vast in the direction in which the current was flowing; but rather that there should always be a few writers preoccupied in penetrating to the core of the matter, in trying to arrive at the truth and to set it forth, without too much hope, without ambition to alter the immediate course of affairs, and without being downcast or defeated when nothing appears to ensue.
Temperament is the primary requisite for the critic - a temperament exquisitely susceptible to beauty, and to the various impressions that beauty gives us.
At a time when painting itself often seems to be a threatened, even despised, form of artistic activity, Andrew Salgado emerges as a dazzlingly skillful advocate for the medium he has chosen to embrace.
It's really thrilling to work with an illustrator - your vision expands with the addition of someone else's artwork/artistic vision.
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