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Texture Quotes

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Texture Quotes

“Study the great brush drawings of the Chinese and Japanese... When we try to imitate their conventions for perspective, form and texture we lose the content, because those artists were part of an ancient tradition. Our tradition changes rapidly, our schools of thought come to fruition quickly and decay again. We see differently.”

“All "if" statements about the past are as dubious as prophecies of the future are. It seems fairly plausible that if Alexander or Ghengis Khan had never been born, some other individual would have filled his place and executed the design of the Hellenic or Mongolic expansion; but the Alexanders of philosophy and religion, of science and art, seem less expendable; their impact seems less determined by economic challenges and social pressures; and they seem to have a much wider range of possibilities to influence the direction, shape and texture of civilizations.”

“Tardiness is next to wickedness in a society relentless in its consumption of time as both a good and a service--as tweet and Instagram, film clip and sound bite, as sporting event, investment opportunity, Tinder hookup, and interest rate--its value measured not by its texture or its substance but by the speed of its delivery, a distinction apparent to Andy Warhol when he supposedly said that any painting that takes longer than five minutes to make is a bad painting.”

“Almighty Framer of the Skies!O let our pure devotion rise,Like Incense in thy Sight!Wrapt in impenetrable Shade,The Texture of our Souls were made,Till thy Command gave Light.”

“Once I'd worked out that I couldn't possibly expect people to enjoy a monstrous, 3000-page book, I realised I could in fact create a labyrinth of a story with four different points of entry. But what interested me was creating something that would rearrange itself every time you read one of the other books. So depending on which order you read them, the implications and angles would change. To get that right, each one of the books had to have its own personality and texture -- even though they are connected, they are very different creatures.”

“Dramatic use of color, harmonious design, the interplay of light and shadow across a variety of textures, the portrayal of the figure and other subject matter that reflects the sophistication and beauty I find in nature - all presented from a unique point of view - can only be successfully achieved with a sound command of the painter's craft... history will determine how successful I have been.”

“There are a lot of products still to be discovered in the world and experimentation, for example with seafood and fish. There are thousands of products that we're not eating right now that maybe will be cultivated in a good agriculture situation, a sustainable, ecological way. Maybe there will be textures or flavors we hadn't even thought of. In the Amazon there are 400 fruits that are not cultivated right now. They're just incredible fruits. Textures, tastes that we don't know right now.”

“Happiness can come in a single moment. And in a single moment it can go again. But a single moment does not create it. Happiness is created through countless choices made and then made again throughout a lifetime. You are its host as well as its guest. You give it form, shape, individuality, texture, tone. And what it allows you to give can change your world. Happiness can be stillness. But it isn't still. It wraps, enchants, heals, consoles, soothes, delights, calms, inspires and connects. It is on your face and in your body. It is in your life and being.”

“I basically made the movie from the crew's suggestions. For one scene, I wanted some kids' toys against the wall in Mikey's room, to give the scene texture, and we tried a field hockey stick. It looked really good to me, until someone had to say that in America, field hockey is more of a girl's game. Gradually I got tuned into the world - that happens on every movie.”

“"Humanism" is to be human, to think, to analyze, and to probe. To respond and to be stimulated by all living things - beasts, fowl, and fishes. To respond through touch, sight, smell, and sound to all things in nature - both organic and inorganic-to colors, shapes, and textures - to not only look at a blade of grass but to really see a blade of grass. These things, to me, are what life and living are all about. I would call it "Humanism."”

“To be an artist it is not necessary to make a living from our creations. Nor is it necessary to have work hanging in fine museums or the praise of critics . . . To be an artist it is necessary to live with our eyes wide open, to breathe in the colors of mountain and sky, to know the sound of leaves rustling, the smell of snow, the texture of bark . . . To be an artist is to notice every beautiful and tragic thing, to cry freely, to collect experience and shape it into forms that others can share.”

“The reason why Matthew Arnold, to my feeling, fails entirely as a poet (though no doubt his ideas were good - at least, I am told they were) is that he had no sense of touch whatsoever. Nothing made any impression on his skin. He could feel neither the shape nor the texture of a poem with his hands.”

“There is something more awful in happiness than in sorrow--the latter being earthly and finite, the former composed of the substance and texture of eternity, so that spirits still embodied may well tremble at it.”

“the test of a cook is how she boils an egg. My boiled eggs are fantastic, fabulous. Sometimes as hard as a 100 carat diamond, or again soft as a feather bed, or running like a cooling stream, they can also burst like fireworks from their shells and take on the look and rubbery texture of a baby octopus. Never a dull egg, with me.”

“All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.”

“Emotionally, I have no picture-book illustrated with memories of my first five years, but externally, I have impressions that possess a haunting vividness comparable only to the texture of dreams, when dreams are tumultuously alive.”

“By setting oneself totally free of constraints, free of thoughts, free of this debilitating activity called work, free of efforts, elements hidden in the texture of reality start staring at you; then mysteries that you never thought existed emerge in front of your eyes.”

“These self-appointed deacons in the Church of Latter-Day American Literature seem to regard generosity (of words) with suspicion, texture with dislike, and any broad literary stroke with outright hate. The result is a strange and arid literary climate where a meaningless little fingernail paring like Nicholson Baker's Vox becomes an object of fascinated debate and dissection, and a truly ambitious American novel like Matthew's Heart of the Country is all but ignored.”

“When I look at a wildlife or nature subject, I dont see the feathers in the wings, I just count the wings. I see exciting shapes, color combinations, patterns, textures, fascinating behavior and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of the painting; in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe.”

“During the 20th century, we came to understand that the essence of all substances - their colour, texture, hardness and so forth - is set by their structure, on scales far smaller even than a microscope can see. Everything on Earth is made of atoms, which are, especially in living things, combined together in intricate molecular assemblages.”

“The first thing that strikes you about Timothy Murphys verse is the palpable texture of his line - that sound of sense practised by that other American poet-farmer, Robert Frost. And just as Murphys ear is trained on the rhythms of local speech and classical epigram, his eye holds fast on the image. This is an undeluded vision, sometimes bleak, often funny, and never less than painstakingly crafted.”