A Quote by Paul Gauguin

I was aware that on my skill as a painter would depend the physical and moral possession of the model. — © Paul Gauguin
I was aware that on my skill as a painter would depend the physical and moral possession of the model.
I do feel Scottish in some way. Maybe it's to do with visiting my grandparents here every summer as a child, but I am aware of my Scottish ancestry. It's there all right, but it would be pushing it to label me a Scottish painter. Or, indeed, an anywhere painter.
Obscenity is our name for the uneasiness which upsets the physical state associated with self-possession, with the possession of a recognized and stable individuality.
I trained as a painter, and I still love painting, but eventually I became aware that the physical aspect of painting didn't really suit me. I didn't enjoy working in the medium. It's very messy. I prefer to have it clean, with a nice computer.
It would appear... that moral phenomena, when observed on a great scale, are found to resemble physical phenomena; and we thus arrive, in inquiries of this kind, at the fundamental principle, that the greater the number of individuals observed, the more do individual peculiarities, whether physical or moral, become effaced, and leave in a prominent point of view the general facts, by virtue of which society exists and is preserved.
Political realism is aware of the moral significance of political action. It is also aware of the ineluctable tension between the moral command and the requirements of successful political action. And it is unwilling to gloss over and obliterate that tension and thus to obfuscate both the moral and the political issue by making it appear as though the stark facts of politics were morally more satisfying than they actually are, and the moral law less exacting than it actually is.
Recognising that the future growth of India will depend on greater skill development, the National Policy for Skill Development aims to create a skilled workforce of 500 million by 2022.
You try to find the internal life, but a lot of it is creating it through physical behavior and figuring out the voice when you create as much of a past as you would in a naturalistic piece. But it's fun, because it's like you're learning something, learning some kind of physical skill.
Faith, enthusiasm, and passionate intensity in general are substitutes for the self-confidence born of experience and the possession of skill. Where there is the necessary skill to move mountains there is no need for the faith that moves mountains.
Even papists could not see that a moral evil was detained in the soul through its physical connection with the body; and that it required the dissolution of this physical connection before the moral contagion could be removed.
I also use that centering process I mentioned as a way to focus my mind and connect it to my physical body. I feel that when we are aware of our physical bodies, we become more aware of how we exist on the earth and more considerate of others with whom we share the earth.
They are both all over physical sports that require being focused, accurate and having good strength. They are both fast with big consequences if things go wrong, so I have to be alert and aware at all times. With racing there is much more endurance and technical skill.
In one African myth the word for God is even identical with skill and capacity. The Godhead is defined as that thing which appears in man as the mystery of an unusual skill or capacity. It is something divine, a spark of the divinity in him, not his own possession or achievement, but a miracle.
The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.
Moral choices do not depend on personal preference and private decision but on right reason and, I would add, divine order.
I'm not an academic; I'm not an archaeologist. I'm a writer, communicating ideas to the public. There is a model of how the past is, and a lot of academic archaeology is about refining the model. It's not about changing the model radically. I'm not aware of any current which is about radically changing the model. It's just me, really.
If intelligence and capability are not criteria for the possession of rights, why would animals -who have the capacity to feel fear and pain- be excluded from our moral consideration?
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