It is a myth that style can't be learnt. It's all about dressing for your body shape, following the rules and wearing colours that suit your skin tone.
Each individual work serves as an expression of our most personal state of mind at that particular moment and of the inescapable, imperative need for release by means of an appropriate act of creation: in the rhythm, form, colour and mood of a picture.
In times of violence, personal predilections for niceties of colour and form seem irrelevant. All primitive expression (like the myths) reveals the constant awareness of powerful forces, the immediate presence of terror and fear.
My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking truly through colour. Feeling that because of my illness I would not be able to paint very much longer, I worked like a man obsessed on these little 'Meditations' (a long series of small paintings he made during the last years of his life, with as main motif the schema of a face, ed.). And now I leave these small but, to me, important works to the future and to people who love art.
Colour is the ultimate in art. It is still and will always remain a mystery to us, we can only apprehend it intuitively in flowers.
So quiet and subtle is the beauty of December that escapes the notice of many people their whole lives through. Colour gives way to form: every branch distinct, in a delicate tracery against the sky. New vistas, obscured all Summer by leafage, now open up.
I had been painting Kate Moss for a long time, both before the time of her crisis and during it. I felt very strongly for her - she's a hard-working mum and it seemed as if suddenly the world turned against her. Holy water cannot help you now is painted in very warm pretty colours.
I know the colour rose, and it is lovely, But not when it ripens in a tumour; And healing greens, leaves and grass, so springlike, In limbs that fester are not springlike.
Men of superior vivacity and wit, when they take a wrong turn, are generally worse than other men: because wit, consisting in a lively representation of ideas assembled together, gives every sensible object those heightening touches, and that striking imagery, which is unknown to men of slower apprehensions: wit being to sensible objects, what light is to bodies; it does not merely show them as they are in themselves: it gives an adventitious colour, which is not a property inherent in them: it lends them beauties which are not their own.
The eighteenth-century view of the garden was that it should lead the observer to the enjoyment of the aesthetic sentiments of regularity and order, proportion, colour and utility, and, furthermore, be capable of arousing feelings of grandeur, gaiety, sadness, wildness, domesticity, surprise and secrecy.
The ideal garden is one in which a collection of trees, shrubs and plants have been procured and allotted to the best space available and are so arranged and tended that they are seen to their advantage, each in relation to the other. Every plant, of whatever shape or size, should be chosen not only for its individual merits but for its power to enhance the charms of neighbouring plants by contrast or combination in foliage or in flower colour.
Like many musicians, I can hear the weight in the sound. Sound is matter. We speak of the colour of an instrument, of transparency... We can demand more sombre or lighter colours, deeper playing and singing, heavier or lighter sound. And manipulating those means is like creating a painting.
My general view is that best actor best suited to role should get the job. Obviously when it comes to colour and issues of ethnicity the choice is clear. But I do not believe you have to be transgender or have undergone sex reassignment surgery to be able play a character who has.Acting is acting after all.
I believe that one should not think too much about nature when painting, at least not during the painting's conception. The colour sketch should be made exactly as one has perceived things in nature. But personal feeling is the main thing.
Though painting borrows help indeed from colours... it has nothing more wide of its real aim or more remote from its intention than to make a show of colours... to raise a separate and flattering pleasure to the sense.
Countless candles dribbled with hot wax, and their flames, like little flags, fluttered in the unchartered currents of air. Thousands of lamps, naked, or shuttered behind coloured glass, burned with their glows of purple, amber, grass-green, blue, blood red and even grey. The walls of Gormenghast were like the walls of paradise or like the walls of an inferno. The colours were devilish or angelical according to the colour of the mind that watched them. They swam, those walls, with the hues of hell, with the tints of Zion. The breasts of the plumaged seraphim; the scales of Satan.
A man of about fifty-four years of age, had begun, five or six months before, to be somewhat emaciated in his whole body...a troublesome vomiting came on, of a fluid which resembl’d water, tinctur’d with soot.... Death took place.... In the stomach...was an ulcerated cancerous tumour.... Betwixt the stomach and the spleen were two glandular bodies, of the bigness of a bean, and in their colour, and substance, not much unlike that tumour which I have describ’d in the stomach.
We tend to misunderstand the colour black, seeing it as evil, or negation of life. Rather, black means all things being possible, infinite energy of life before consciousness has constructed any boundaries. When we fear blackness or darkness we fear the deep unconscious source of life itself.
Seventy per cent of the clothes you own should be meat and potatoes. Thirty per cent should be icing and fluff - that's colour, pattern, shine, accessories. Too many women get the proportions the other way round, then can't figure out why they can't get dressed.
To dismiss basic contexts such as link colours, page layouts, navigation systems, and visual hierarchy as 'boring' or 'pedestrian' is akin to laughing at a car's steering wheel as unimaginative.
Theosophy, on earth, is like the white ray of the spectrum, and each religion only one of the seven colours.
A learned parson, rusting in his cell at Oxford or Cambridge, will reason admirably well upon the nature of man; will profoundly analyze the head, the heart, the reason, the will, the passions, the senses, the sentiments, and all those subdivisions of we know not what ; and yet, unfortunately, he knows nothing of man... He views man as he does colours in Sir Isaac Newton's prism, where only the capital ones are seen; but an experienced dyer knows all their various shades and gradations, together with the result of their several mixtures.
I thought I could not breathe in that fine air That pure severity of perfect light I yearned for warmth and colour which I found In Lancelot.
The greatest of characters, no doubt, would be he, who, free of all trifling accidental helps, could see objects through one grand immutable medium, always at hand, and proof against illusion and time, reflecting every object in its true shape and colour through all the fluctuation of things.
When we talk of architecture, people usually think of something static; this is wrong. What we are thinking of is an architecture similar to the dynamic and musical architecture achieved by the Futurist musician Pratella. Architecture is found in the movement of colours, of smoke from a chimney and in metallic structures, when they are expressed in states of mind which are violent and chaotic.
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