Scratch the surface of most cynics and you find a frustrated idealist — someone who made the mistake of converting his ideals into expectations.
It is important to remember that the Pacific Ocean covers a quarter of the world's surface and that each Pacific country has its own cultural, historical and ethnic identity.
Remember that a painting - before it is a battle horse, a nude model, or some anecdote - is essentially a flat surface covered with colours assembled in a certain order.
A writer works from the material she has, but it comes from the unconscious. Everything is stored up and one never knows what comes up to the surface at a given moment. A period of gestation is certainly needed, what Wordsworth called ‘emotion recollected in tranquility.’ You cannot write about an experience when you are living it, suffering it. You are too busy surviving to look at it objectively. At least I can’t.
Men are weak now, and yet they transform the Earth's surface. In millions of years their might will increase to the extent that they will change the surface of the Earth, its oceans, the atmosphere, and themselves. They will control the climate and the Solar System just as they control the Earth. They will travel beyond the limits of our planetary system; they will reach other Suns, and use their fresh energy instead of the energy of their dying luminary.
Balance is the perfect state of still water. Let that be our model. It remains quiet within and is not disturbed on the surface.
Concentration is inspiration. You must be completely overtaken by your work and your subject. Only then do all your influences and experience come up to the surface.
Sometimes I imagine colors as if they were living ideas, being of pure reason with which to communicate. Nature is not on the surface, it is deep down.
When we take a slight survey of the surface of our globe a thousand objects offer themselves which, though long known, yet still demand our curiosity.
A painting is nothing more than light reflected from the surface of a pigment-covered canvas. But a great painter can make you see the depth, make you feel the underlying emotion, make you sense the larger world. That, too, is the power of science: to sense and convey the depth and dimensionality of nature, to glance at the surface and to divine the shape of the universe around us.
Everyone can feel the nothingness, the void, just beneath the surface of everyday routines and securities.
The poetic image is a sudden salience on the surface of the psyche
You have no idea how unimportant is all that the teacher says or does not say on the surface, and how important what he himself is as teacher.
Writing is a deep-sea dive. You need hours just to get into it: down, down, down. If you're called back to the surface every couple of minutes by an email, you can't ever get back down. I have a great friend who became a Twitterer and he says he hasn't written anything for a year.
One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.
Everything pertaining to what's happening has never come to the surface. The world will never know the true facts of what occurred, my motives. The people who had so much to gain, and had such an ulterior motive for putting me in the position I'm in, will never let the true facts come above board to the world.
There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.
Scratch the surface in a typical boardroom and we're all just cavemen with briefcases, hungry for a wise person to tell us stories.
Like a magnetized needle floating on a surface of oil, Resistance will unfailingly point to true North--meaning that calling or action it most wants to stop us from doing. We can use this. We can use it as a compass. We can navigate by Resistance, letting it guide us to that calling or action that we must follow before all others. Rule of thumb: The more important a call or action is to our soul's evolution, the more Resistance we will feel toward pursuing it.
However, the wind only changes the picture temporarily, the substrate remains the same and sooner or later the same picture surfaces once again.
Every artist undresses his subject, whether human or still life. It is his business to find essences in surfaces, and what more attractive and challenging surface than the skin around a soul?
My father was a psycho-analyst and I think that fact was very influential on my development as an artist. Trying to search beneath the surface of things for an unexpected sense of mystery.
To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression. And this organization, this precision, will always escape you, if you do not appreciate what a picture is, if you do not understand that the composition, the logic, the equilibrium of the surfaces and values are the only ways of giving meaning to all that is continuously appearing and vanishing before our very eyes.
Bodies are real entities. Surfaces and lines are but fictitious entities. A surface without depth, a line without thickness, was never seen by any man; no; nor can any conception be seriously formed of its existence.
God made the bulk; the surface was invented by the devil.
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