Doing things like playing music, something that's so natural and basic to human function, running around in nature, eating delicious food. These things are intrinsic in basic, primordial to human beings, so that's sort of a way to return to a blank canvas, allowing my true personality to return.
An uninspiring canvas becomes a glamorous masterpiece when it is reattributed to a better-known artist.
As free and crazy as we want to be, and how much we want to make the world a canvas, there's also a part of us that doesn't want to make any mark.
It's hard to be fully creative without structure and constraint. Try to paint without a canvas. Creativity and freedom are two sides of the same coin. I like the best of both worlds. Want freedom? Get organized. Want to get organized? Get creative.
Almost every evening, either I went to [Georges] Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's work. A canvas wasn't finished unless both of us felt it was.
I don't have an idea for a play until after I've finished writing it. I write first, and come up with what it's about later. My technique could be compared to having a large canvas and coming in every day and putting a dot on it somewhere, and after several years - literally - I begin to say, That reminds me of an elephant, so I think I'll make it one.
I couldn’t get near what I wanted through seeing, recognizing and recreating, so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to It is untrue that my work depends on any literary impulse or has any illustrative intention. The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting.
You know, a landscape painter's day is delightful. You get up early, at three o'clock in the morning, before sunrise; you go and sit under a tree; you watch and wait. At first there is nothing much to be seen. Nature looks like a whitish canvas with a few broad outlines faintly sketched in; all is misty, everything quivers in the cool dawn breeze. The sky lights up. The sun has not yet burst through the gauze veil that hides the meadow, the little valley, the hill on the horizon... Ah, a first ray of sunshine!
The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.
For me, acting is about the art of it and it's about being on a film set and doing your thing, painting a blank canvas.
The beauty of science fiction is its open canvas. You can hypothesize about any element of the world. It doesn't have to be laser battles and things exploding, you can be JG Ballad and maybe just change one little thing about the real world and that becomes science fiction.
The future turns out to be something that you make instead of find. It isn't waiting for your arrival, either with an arrest warrant or a band, nor is it any further away than the next sentence, the next best guess, the next sketch for the painting of a life portrait that might become a masterpiece. The future is an empty canvas or a blank sheet of paper, and if you have the courage of your own thought and your own observation, you can make of it what you will.
Let the future remain uncertain, for that is the canvas to receive our desires.
Do you remember the church across the sands? You stood outside and planned to travel the lands, where the pilgrims go. So you packed your world up inside a canvas sack, set off down the highway with your rings and Kerouac. Someone said they saw you in Nepal a long time back. Tell me why you look away, don't you have a word to say?
Someone spilled the ink on the canvas. Now boasts: "I painted the night".
Chase used to say, 'When you're looking at your canvas and worrying about it, try to think of your canvas as the reality and the model as the painted thing.'
I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.
Just as hundreds of brushstrokes comprised a finished canvas, people were made up of a lifetime of experiences, both good and bad. And without knowing what someone had endured, it was impossible to truly know them - and accept them - for who they were.
The longer I lived, the more beautiful life became - despite my personal tragedies, the fire, despite my third wife and her dreadful taste. My dear Olgivanna, she insisted on replacing the lovely canvas and wooden trusses at Taliesin West with steel supports and pink frosted glass. Well, I was too old to care by then. What I decided early on was this: If you foolishly ignore beauty, you will soon find yourself without it. Your life will be impoverished. But if you invest in beauty, it will remain with you all the days of your life.
Every life has dark tracts and long stretches of somber tint, and no representation is true to fact which dips its pencil only in light, and flings no shadows on the canvas.
The genius of Man in our time has gone into jet-propulsion, atom-splitting, penicillin-curing, etc. There is none left over for works of imagination; of spiritual insight or mystical enlightenment.
Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn’t touch the surface on the canvas, it’s just above [so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.
I love having played Walter because I suppose any actor brings a certain aspect of their own personality to their work, and I had a fairly broad canvas to paint on with the different versions.
The key role of entrepreneurs, like the most crucial role of scientists, is not to fill in the gaps in an existing market or theory, but to generate entirely new markets or theories. . .They stand before a canvas as empty as any painter's; a page as blank as any poet's.
I hope and dream the time will come when serious artists will make marvelous pictures that will love and live in life-like manner and be far more interesting and wonderful than pictures you now see on canvas. I think if Michelangelo was alive today he would immediately see the wonders...The artist can make his scenes and characters live instead of stand still on canvas in art museums.
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