A drawing is always dragged down to the level of its caption.
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Philosophy offers the rather cold consolation that perhaps we and our planet do not actually exist; religion presents the contradictory and scarcely more comforting thought that we exist but that we cannot hope to get anywhere until we cease to exist. Alcohol, in attempting to resolve the contradiction, produces vivid patterns of Truth which vanish like snow in the morning sun and cannot be recalled; the revelations of poetry are as wonderful as a comet in the skies -- and as mysterious. Love, which was once believed to contain the Answer, we now know to be nothing more than an inherited behavior pattern.
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My drawings have been described as pre-internationalist, meaning that they were finished before the ideas for them had occurred to me. I shall not argue the point.
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Editing should be, especially in the case of old writers, a counseling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, How can I help this writer to say it better in his own style? and avoid How can I show him how I would write it, if it were my piece?
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In the final analysis, a drawing simply is no longer a drawing, no matter how self-sufficient its execution may be. It is a symbol, and the more profoundly the imaginary lines of projection meet higher dimensions, the better.
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He who hesitates is sometimes saved.
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Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt.
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