I am out to introduce a psychic shock into my painting, one that is always motivated by pictorial reasoning: that is to say, a fourth dimension.
It is possible that a picture will move far away from Nature and yet find its way back to reality. The faculty of memory, experience at a distance produces pictorial associations.
The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles).
The essential of painting is that 'something', that 'ethereal glue,' that 'intermediary product' which the artist exudes with all his creative being and which he has the power to place, to encrust, to impregnate into the pictorial matter of the painting.
The art of motion pictures is pictorial and language comes a distant second.
The painter thinks in terms of form and color. The goal is not to be concerned with the reconstitution of an anecdotal fact, but with constitution of a pictorial fact.
The susceptibility of the average modern to pictorial suggestion enables advertising to exploit his lessened power of judgment.
I want to make exalted art. A successful image has pictorial lift. I am looking for whatever is up there
Where is automatism in the work of Chirico or Tanguy? Even Dali had to renounce it in order to be able to organize the space of the canvas according to the combined laws of dreams and pictorial aesthetics.
Thoughts and emotions cannot be photographed, despite the protestations of some mystically minded portraitists. Physical fact is ultimately the sole pictorial material.
There is a cultural factor promoting violence which nowadays undoubtedly is highly effective is the mass media. And particularly everything that enters our minds through pictorial media.
The art of pictorial creation is so complicated - it is so astronomical in its possibilities of relation and combination that it would take an act of super-human concentration to explain the final realization.
No good is ever done to society by the pictorial representation of its diseases.
The mandala describes balance. This is so whatever the pictorial form.
The creation of a work of art must of necessity, as a result of entering into the specific dimensions of pictorial art, be accompanied by distortion of the natural form. For, therein is nature reborn.
The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, but to the pictorial representation. In this way and in no other does art overcome the ugly without avoiding it.
A work based only on a line concept is scarcely more than a illustration; it fails to achieve pictorial structure. Pictorial structure is based on a plane concept. The line originates in the meeting of two planes ... we can lose ourselves in a multitude of lines, if through them we lose our senses for the planes.
No-one who has a real understanding of the art of painting attaches any importance to what we call the subject of a picture - what is represented. To one who feels the language of pictorial form, all depends on how it is presented, nothing on what.
If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.
Though both erotica and pornography refer to verbal or pictorial representations of sexual behavior, they are as different as a room with doors open and one with doors locked. The first might be a home, but the second could only be a prison.
Pictures are the idea in visual or pictorial form; and the idea has to be legible, both in the individual picture and in the collective context - which presupposes, of course, that words are used to convey information about the idea and the context. However, none of this means that pictures function as illustrations of an idea: ultimately, they are the idea. Nor is the verbal formulation of the idea a translation of the visual: it simply bears a certain resemblance to the meaning of the idea. It is an interpretation, literally a reflection.
Cutting for Stone is nothing short of masterful -a riveting tale of love, medicine, and the complex dynamic of twin brothers. It is beautifully conceived and written. The settings are wonderfully pictorial. There is no doubt in my mind that Cutting for Stone will endure in the permanent literature of our time.
Magnetic lines of force convey a far better and purer idea than the phrase magnetic current or magnetic flood: it avoids the assumption of a current or of two currents and also of fluids or a fluid, yet conveys a full and useful pictorial idea to the mind.
No pictorial or sculptural combinations of points of human loveliness, do more than approach the living and breathing human beauty as it gladdens our daily path.
The pictorial battlefield becomes a sea of mud mercifully veiled by the fog of war.
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