A Quote by Pierre Alechinsky
When a painter thinks to disengage from the world outside himself and fantasies unprecedented forms he thinks he will make a painting, he finds in this expression the same effect - I would even say the same picture - that he had unconsciously acquired by his habit to experience reality intensely.
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I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Everybody thinks they know what art should be. But very few of them have the sense that is necessary to experience painting, that is the sense of sight, that sees colors and forms as living reality in the picture.
We forget that, although freedom of speech constitutes an important victory in the battle against old restraints, modern man is in a position where much of what "he" thinks and says are the things that everybody else thinks and says; that he has not acquired the ability to think originally - that is, for himself - which alone gives meaning to his claim that nobody can interfere with the expression of his thoughts.
The proletarian writer is a writer with a purpose; he thinks no more of art for art's sake than a man on a sinking ship thinks of painting a beautiful picture in the cabin; he thinks of getting ashore - and then there will be time enough for art.
. . . man is just what he thinks himself to be . . . He will attract to himself what the thinks most about. He can learn to govern his own destiny when he learns to control his thoughts.
A cat actually thinks visibly. If you watch him jump on a shelf, the wish to jump and the action of jumping are one and the same thing... It's in exactly the same way that all Brook's exercises try to train the actor. The actor is trained to become so organically related within himself, he thinks completely with his body. He becomes one sensitive, responding whole... The whole of him is one.
Freedom of Will-that is the expression for the complex state of delight of the person exercising volition, who commands and at the same time identifies himself with the executor of the order-who, as such, enjoys also the triumph over obstacles, but thinks within himself that it was really his own will that overcame them. In this way the person exercising volition adds the feelings of delight of his successful executive instruments, the useful underwills or under-souls-indeed, our body is but a social structure composed of many souls-to his feelings of delight as commander.
Just as the painter thinks with his brush and paints the novelist thinks with his story.
The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
Leon Golub was a painter. He was an artist struggling to make it in the New York City art world, but at the same time he was a very political guy, and engaged in the world around him. In the film, we saw how that world eventually encroached into his painting. One of my favorite lines in the film was how he had to be more precise, 'but now the pants have wrinkles, I hated to do it, but I had to do it.'
Kant thinks that a free will is a will under moral laws and that freedom and the moral law are distinct thoughts that reciprocally imply each other. Fichte thinks they are the same thought.
Someone who thinks well of himself is said to have a healthy self-concept and is envied. Someone who thinks well of his country is called a patriot and is applauded. But someone who thinks well of his species is regarded as hopelessly naïve and is dismissed.
If you punish a child for being naughty, and reward him for being good, he will do right merely for the sake of the reward; and when he goes out into the world and finds that goodness is not always rewarded, nor wickedness always punished, he will grow into a man who only thinks about how he may get on in the world, and does right or wrong according as he finds advantage to himself.
Man tries to make for himself in the fashion that suits him best a simplified and intelligible picture of the world; he then tries to some extent to substitute this cosmos of his for the world of experience, and thus to overcome it. This is what the painter, the poet, the speculative philosopher, and the natural scientists do, each in his own fashion. Each makes this cosmos and its construction the pivot of his emotional life, in order to find in this way peace and security which he can not find in the narrow whirlpool of personal experience.
Even the humblest men have a strange reason behind greed. Every man thinks money solves problems - and every man thinks not just of himself, but his next three generations - there is a probability he will live to see those generations - and he wants to care for them in times of strife.
Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms. Well then, think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affect us more or less intensely.
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