A Quote by Robert Henri
There are forms that can only be seen when you are near a painting, others only appear when you are far away.
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We can't afford to live in isolation, and we need to teach our kids that the things that they do not only matter to others far away but impact others who live far away, and there are ripples of effect.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
What is seen and called the picture is what remains - an evidence. Even as one travels in painting toward a state of 'unfreedom' where only certain things can happen, unaccountably the unknown and free must appear.
I control my life and I have never let success run away with me - I've taken it and ran. And the only thing that could threaten my stability is me - I'm my only threat and my own worst enemy. Beyond that, I don't feel successful. I'm nowhere near where I plan to be as far as my goals.
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.
All warfare is based on deception. Therefore, when capable, feign incapacity; when active, inactivity. When near, make it appear that you are far away; when far away, that you are to lure him; feign disorder and strike him. When he concentrates, prepare against him; where he is strong, avoid him. Anger his general and confuse him. Pretend inferiority and encourage his arrogance.
Painting is the only universal language. All nature is creation's picture book. Painting alone can describe every thing which can be seen, and suggest every emotion which can be felt. Art reaches back into the babyhood of time, and is man's only lasting monument.
A painting works only on the edge of not working. Then what is ungraspable comes near.
Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear... making itself, the image taking hold. This in turn moves me toward painting - anxious to get to the same place, with the actuality of paint and light.
Most of America's leading entrepreneurs are bound to the masts of their fortunes. They are allowed to keep their wealth only as long as they invest it in others. In a real sense, they can keep only what they give away. It has been given to others in the form of investments. It is embodied in a vast web of enterprises that retains its worth only through constant work and sacrifice. Capitalism is a system that begins not with taking but with giving to others.
All warfare is based on deception. Hence, when able to attack, we must seem unable; when using our forces, we must seem inactive; when we are near, we must make the enemy believe we are far away; when far away, we must make him believe we are near.
There is only one rule by which to judge if God is near us or is far away - the rule that God's word is giving us today: everyone concerned for the hungry, the naked, the poor, for those who have vanished in police custody, for the tortured, for prisoners, for all flesh that suffers, has God close at hand. We have the ability, we have the means, and we have the capacity to eliminate hunger from the face of the earth. We need only the will.
Cure yourself of the affliction of caring how you appear to others. Concern yourself only with how you appear before God, concern yourself only with the idea that God may have of you.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
Some virtues are only seen in affliction and others only in prosperity.
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