A Quote by Pierre-Auguste Renoir
You haven't time to think about the composition. In working directly from nature, the painter ends up by simply aiming at an effect, and not composing the picture at all; and he soon becomes monotonous.
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If the painter works directly from nature, he ultimately looks for nothing but momentary effects; he does not try to compose, and soon he gets monotonous.
The composition is the thing seen by everyone living in the living they are doing, they are the composing of the composition that at the time they are living is the composition of the time in which they are living.
Composition is the art of arranging in a decorative manner the various elements which the painter uses to express his sentiments. In a picture every separate part will be visible and... everything which has no utility in the picture is for that reason harmful.
When I read something, I picture that scene in that detail. That becomes very similar to composing a photo in real life.
I often felt better as soon as I swallowed my vitamin C, long before it had time to take effect. Medical researchers call it 'placebo effect'; I prefer to call it magic, for it occurs when something - a pill or a word - is imbued with power and meaning, and so it becomes effective. That is alchemy.
Were it not for this [dissatisfaction], the perfect painting might be painted, on the completion of which the painter could retire. It is this great insufficiency that drives him on. The process of creation becomes necessary to the painter perhaps more than it is in the picture. The process is in fact habit-forming.
The painter makes real to others his innermost feelings about all that he cares for. A secret becomes known to everyone who views the picture through the intensity with which it is felt.
Growing up, my mom was a painter, my best friend was a painter, my husband is a painter. For a long time I knew artists, and I didn't know any writers.
Sometimes the things I learn making paintings or drawings - composition, colour, expressionism, texture - can directly influence the making of a film. Sometimes it's great that they are different, and simply taking a break from one medium to spend time with another, recharges the batteries and I feel refreshed.
The impulse of nature, fused through the personality of the artist by laws arising from the particular nature of the medium, produces the rhythm and the personal expression of a work. Then the life of the composition becomes a spiritual unity.
I love silence. And one of the paradoxes about the way I live and also about my work is that definitely one of the reasons I went into music, and especially into composing is that I love setting up an environment where I can be by myself for long periods of time and have everything as quiet as possible, either to think about sound, or to think about ideas, or just to focus on things that are important to me.
I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.
The WWE and World Heavyweight Titles are the ones everyone is aiming for, and if you're not aiming for them, you are in the wrong business - and I like to think that when the time is right, I will get my shot.
I know that the materials found on the streets is rich and wonderful, but my experience is that the way I am accustomed to work, slowly planning my composition etc. is not suited for such work. By the time I have the composition or expression right, the picture is gone. I guess I want to do the impossible and therefore I do nothing.
Watching my stepfather and mother working in the industry - acting and composing - and seeing firsthand how difficult it is to achieve a successful career in the theater, I thought it might be safer to go to art school with the aim of becoming a painter.
On one level, I'm interested in how the space dictates the effect visually - how the composition of a given work changes depending on the nature of each wall. But I'm also trying to emphasize less tangible elements: the amount of time it takes to walk the gallery's perimeter; how one's physical distance affects his or her sense of the overall composition; how the size of the space creates a sense of visual rhythm. It's really a matter of seeing how much structure is necessary to impose for those things to become apparent.
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