A Quote by Claude Monet
While adding the finishing touches to a painting might appear insignificant, it is much harder to do than one might suppose.
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I suppose in the end it's almost too easy to look back and say what you should have done, how you might have changed things. What's harder - what's much, much harder - is to accept what you actually did do.
What any true painting touches is an absence - an absence of which without the painting, we might be unaware. And that would be our loss.
The question was, in a sense, at Princeton Review, how much value was I adding as a public company CEO. I was adding less than other people might've... I think you want to move on when you've given your best work and then feel that you're not going to add as much value moving forward.
It's important to remember that, while poverty certainly makes single life harder, it also makes married life harder - so much harder that single life might be preferable.
I weighed 100 kg while shooting 'Paatal Lok.' I am 6 feet and therefore it might not appear that I weigh so much.
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.
Some gentlemen have made an amazing figure in literature by general discontent with the universe as a trap of dulness into which their great souls have fallen by mistake; but the sense of a stupendous self and an insignificant world may have its consolations. Lydgate's discontent was much harder to bear; it was the sense that there was a grand existence in thought and effective action lying around him, while his self was being narrowed into the miserable isolation of egoistic fears, and vulgar anxieties for events that might allay such fears.
Be what you would seem to be - or, if you'd like it put more simply - never imagine yourself not to be otherwise than what it might appear to others that what you were or might have been was not otherwise than what you had been would have appeared to them to be otherwise.
I'm gonna play this game the way I want to. It might be serious, it might be a comedy, it might be a dramedy, it might be variety, it might be a talk show, whatever. There's no box.
You might have more talent than me, you might be smarter than me, you might be sexier than me, you might be all of those things you got it on me in nine categories. But if we get on the treadmill together, there are two things: You're getting off first, or I'm going to die. It's really that simple, right?
Everything might scatter. You might be right. I suppose it's something we can't easily get away from. People need to feel they belong. To a nation, to a race. Otherwise, who knows what might happen? This civilisation of ours, perhaps it'll just collapse. And everything scatter, as you put it.
Usually my starting point is something that I've seen. It might be a painting, it might be an object. But they always start from a definite sensory experience.
For a while I never show anybody what I'm writing, and during that time I need the feeling that publishing is only an option. I might publish this, I might not. I think if I had to publish it, I might panic.
There's not much value to us attacking Chinese systems. We might take a few computers offline. We might take a factory offline. We might steal secrets from a university research programs, and even something high-tech. But how much more does the United States spend on research and development than China does?
Our universe cannot even be stated symbolically. And this touches us all more directly than one might suppose. For example, artists, who have been very little influenced by social systems, have always responded instinctively to latent assumptions about the shape of the universe. The incomprehensibility of our new cosmos seems to me, ultimately, to be the reason for the chaos of modern art.
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