A Quote by Pierre-Auguste Renoir
There are some things in painting which cannot be explained, and that something is essential.
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The essential of painting is that 'something', that 'ethereal glue,' that 'intermediary product' which the artist exudes with all his creative being and which he has the power to place, to encrust, to impregnate into the pictorial matter of the painting.
Some things cannot be explained. This is part of the magic of life. There cannot be a word or an idea or a definition attached to everything.
Every day things happen in the world that cannot be explained by any law of things we know. Every day they're mentioned and forgotten, and the same mystery that brought them takes them away, transforming their secret into oblivion. Such is the law by which things that can't be explained must be forgotten. The visible world goes on as usual in the broad daylight. Otherness watches us from the shadows.
I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
Do you not think that there are things which you cannot understand, and yet which are; that some people see things that others cannot? But there are things old and new which must not be contemplate by men´s eyes, because they know -or think they know- some things which other men have told them. Ah, it is the fault of our science that it wants to explain all; and if it explain not, then it says there is nothing to explain.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
Biologists can be divided into two classes: experimentalists who observe things that cannot be explained, and theoreticians who explain things that cannot be observed.
We stand in awe before that which cannot be seen. We respect with every fiber of our being that which cannot be explained.
It is no wrong or injustice that one has many bags of the finest myrrh and garments embroidered with gold, while another has not those things, which are not necessary for our maintenance; he who has them has not thereby obtained control over anything that could be an essential addition to his nature, but has only obtained something illusory or deceptive. ...This is the rule at all times and in all places; no notice should be taken of exceptional cases, as we have explained.
You cannot go on 'explaining away' for ever: you will find that you have explained explanation itself away. You cannot go on 'seeing through' things for ever. The whole point of seeing through something is to see something through it.
When I was doing just the underwater, I don't think people could relate to it at first. Then I added the land, which was a painting called, Two Worlds. For some reason that particular painting gave people something to hold onto.
Something that cannot be explained cannot be seen.
It is not that the meaning cannot be explained. But there are certain meanings that are lost forever the moment they are explained in words.
To accept some idea of truth without experiencing it is like a painting of a cake on paper which you cannot eat.
I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.
I do some kind of work, whether writing or painting or recording, on a daily basis. And it's so essential that when I'm involved in the actual process, my so-called 'real life' becomes almost incidental, which becomes worrying.
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