A Quote by Rene Huyghe
Content is more than 'subject matter.' It is all the feelings and ideas you bring to your painting.
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The abstract expressionists had that thing of, subject matter becomes content, content becomes form. And I always thought there was no room for style. I felt with my painting, the style really is the content. The style holds everything together.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
Critic asks: 'And what, sir, is the subject matter of that painting?' - 'The subject matter, my dear good fellow, is the light.
I feel guilty when people say I'm the greatest on the scene. What's good or bad doesn't matter to me; what does matter is feeling and not feeling. If only people would take more of a true view and think in terms of feelings. Your name doesn't mean a damn, it's your talents and feelings that matter. You've got to know much more than just the technicalities of notes; you've got to know what goes between the notes.
My operas usually come from musical ideas rather than ideas about subject matter.
It's hard to look at anything with an objective eye. I think people bring themselves into the equation when they watch a movie. They bring their own prejudices, their own biases, their own feelings toward the subject matter, the characters.
When I teach a class I often give the assignment: Photograph someone you love. I ask people to do this so they have a subject about whom they have feelings, a subject that is more than a model, or an object, or a shape, or an idea. In this way, they can judge the result not only by its technical success, but also by how well it describes their feelings.
The vast amount of time it takes to make my paintings is very challenging. I have so many exciting ideas I would love to bring to a final painting, but my time-consuming technique limits the number of ideas that get to become a painting.
No matter what medium I'm using, or what subject I'm painting, I do retain a fairly set approach to painting.
Start a painting with fresh ideas, and then let the painting replace your ideas with its ideas.
My problem is to bring together in a painting two seemingly conflicting, impossibly unmixable ideas. One is that the finished work shall evoke a sense of recognition, of the mysteriously familiar... the other is that in order to do the first I must deeply know my subject.
While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) — a material vestige of its subject in a way that no painting can be.
Subject matter does not determine a successful painting. It is the manner in which one personally envisions and interprets the subject that is the magical equation.
I take more to the subject than to my ideas about it. I am not interested in any idea I have had, the subject is so demanding and so important.
State of the Culture' is more mature content. We want to go as deep as we can on whatever the subject matter is, we're not there to joke.
Ideas matter a lot, the underlying ideas that stand behind policies. When you don't have ideas, your policies are flip-flopping all over the place. When you do have ideas, you have more consistency. And when you have the right ideas - then you can get somewhere (reagan had the right ideas).
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