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Foreground Quotes

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Foreground Quotes

“Those dabs of paint and lines become art when form and flow are created out of lower-level perceptual elements. When they combine harmoniously they give rise to perspective, foreground and background, and ultimately to emotion and other aesthetic attributes.”

“I shall not find a painting more beautiful because the artist has painted a hawthorn in the foreground, though I know of nothing more beautiful than the hawthorn, for I wish to remain sincere and because I know that the beauty of a painting does not depend on the things represented in it. I shall not collect images of hawthorn. I do not venerate hawthorn, I go to see and smell it.”

“I am glad you encouraged me with the 'Stoke' [his painting 'Stoke-by-Nayland', circa 1835] What say you to a summer morning? July or August, at eight or nine o'clock, after a slight shower during the night, to enhance the dews in the shadowed part of the picture, under 'Hedge row elms and hillocks green.' Then the plough, cart, horse, gate, cows, donkey, &c. are all good paintable material for the foreground, and the size of the canvas sufficient to try one's strength, and keep one at full collar.”

“Olive Schreiner is less a woman than a geographical fact. Just as one thinks of Egypt as a foreground for the Pyramids, so South Africa seems the setting of that warm, attractive, aggressive personality. Her work is far inferior to her.”

“One of the important things about religion is that it is a sphere which is partially protected from selection. Religious creativity occurs when people pull out of the whole selectivity issue. Becoming celibate - obviously you couldn't be less selective that that. Yes, selection is always in the background. But it's not always there in the foreground. If you don't understand that, you're missing a lot.”

“At that time [90th in Lagos], if you drove through the city, you drove through a foreground that always seemed to be incredibly dramatic and incredibly agonised - smoking, burning, incredible compression. In the first year we stayed on the ground and went everywhere. But then in order to discover whether this was the whole story, we rented a helicopter. And we began to understand that this is not chaos but a highly modern system that had been abandoned, then at some point went into reversal, then slowly came out of it.”

“So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.”

“Any active sportsman has to be very focused; you've got to be in the right frame of mind. If your energy is diverted in various directions, you do not achieve the results. I need to know when to switch on and switch off: and the rest of the things happen around that. Cricket is in the foreground, the rest is in the background.”

“This book will prove the following ten facts: 1. A Goon is a being who melts into the foreground and sticks there. 2. Pigs have wings, making them hard to catch. 3. All power corrupts, but we need electricity. 4. When an irresistible force meets an immovable object, the result is a family fight. 5. Music does not always sooth the troubled beast. 6. An Englishman's home is his castle. 7. The female of the species is more deadly than the male. 8. One black eye deserves another. 9. Space is the final frontier, and so is the sewage farm. 10. It pays to increase your word power.”

“What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, criscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.”

“My picture of the world is drawn in perspective and not like a model to scale. The foreground is occupied by human beings and the stars are all as small as three-penny bits. I don't really believe in astronomy, except as a complicated description of part of the course of human and possibly animal sensation. I apply my perspective not merely to space but also to time. In time the world will cool and everything will die; but that is a long time off still and its present value at compound discount is almost nothing.”

“Viewed from the distance of the moon, the astonishing thing about the earth, catching the breath, is that it is alive. The photographs show the dry, pounded surface of the moon in the foreground, dry as an old bone. Aloft, floating free beneath the moist, gleaming, membrane of bright blue sky, is the rising earth, the only exuberant thing in this part of the cosmos.”