A Quote by Pierre-Auguste Renoir
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.
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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.
One of my first things I was fascinated with when I got on set was how does Grant do all this Flash stuff? it looks so good as the end product, but how does the special effects team work? How does the visual effects team work?
Nature, the ultimate pragmatist, doggedly searches for something that works. But as the cockroach demonstrates, what works best in nature does not always appeal to us.
Boredom is that awful state of inaction when the very medicine ? that is, activity ? which could solve it, is seen as odious. Archery? It is too cold, and besides, the butts need re-covering; the rats have been at the straw. Music? To hear it is tedious; to compose it, too taxing. And so on. Of all the afflictions, boredom is ultimately the most unmanning. Eventually, it transforms you into a great nothing who does nothing ? a cousin to sloth and a brother to melancholy.
All pain is per se and especially in excess, destructive and ultimately fatal in its nature and effects.
The only merit I have is to have painted directly from nature with the aim of conveying my impressions in front of the most fugitive effects.
What you compose with is neither here nor there, you compose with words, or you compose with stone plants and trees, or you compose with events; the Sheriff's officer, or whatever.
I believe that traditional wisdom is incomplete. A composer can have all the talent of Mozart and a passionate desire to succeed, but if he believes he cannot compose music, he will come to nothing. He will not try hard enough. He will give up too soon when the elusive right melody takes too long to materialize.
The image isn't just created with the camera. That's just part one. The editor gets an imprint. The colorist does something to it. Visual effects does something to it. It's not just what you capture that people are going to see. The image gets made in many ways. In production and then in post.
A mass of dust, world's momentary slave, Is man, in state of our old Adam made, Soon born to die, soon flourishing to fade.
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
A painter must not only be of necessity an imitator of the works of nature... but he must be as necessarily an imitator of the works of other painters. This appears more humiliating, but is equally true; and no man can be an artist, whatever he may suppose, upon any other terms.
The main question to a novel is -- did it amuse? were you surprised at dinner coming so soon? did you mistake eleven for ten? were you too late to dress? and did you sit up beyond the usual hour? If a novel produces these effects, it is good; if it does not -- story, language, love, scandal itself cannot save it. It is only meant to please; and it must do that or it does nothing.
There is no transcendent creator in animism, no god who set the clocks ticking and decides which ones to fix when they falter; nothing exists outside of nature. In other words, my philosophy does not require that I believe in something I cannot experience directly.
Whatever effects one directly, effects all indirectly.
It will of course, be understood that directly or indirectly, soon or late, every advance in the sciences of human nature will contribute to our success in controlling human nature and changing it to the advantage of the common wheel.
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