William Shenstone Quotes

Land really is the best art.

Everything is raw material to me. Land is raw material... I take one form and transform it into other forms.

Every one of my buildings begins with an Italian journey.

The garden, by design, is concerned with both the interior and the land beyond the garden.

Sculpture is an art of the open air... I would rather have a piece of my sculpture put in a landscape, almost any landscape, than in, or on, the most beautiful building I know.

Close to the Gates a spacious Garden lies, From the Storms defended and inclement Skies; Four Acres was the allotted Space of Ground, Fenc'd with a green Enclosure all around. Tall thriving Trees confessed the fruitful Mold: The reddening Apple ripens here to Gold, Here the blue Fig with luscious Juice overflows, With deeper Red the full Pomegranate glows, The Branch here bends beneath the weighty Pear, And verdant Olives flourish round the Year.

But where only a free play of our presentational powers is to be sustained, as in the case of pleasure gardens, room decoration, all sorts of useful utensils, and so on, any regularity that has an air of constraint is [to be] avoided as much as possible. That is why the English taste in gardens, or the baroque taste in furniture, carries the imagination's freedom very far, even to the verge of the grotesque, because it is precisely this divorce from any constraint of a rule that the case is posited where taste can show its greatest perfection in designs made by the imagination.

My garden is my most beautiful masterpiece

Nothing is more completely the child of art than a garden.

Laying out grounds may be considered a liberal art, in some sort like poetry and painting.

The pale pink light of dawn sparkled on branch and leaf and stone. Every blade of grass was carved from emerald, every drip of water turned to diamond. Flowers and mushrooms alike wore coats of glass. Even the mud puddles had a bright brown sheen. Through the shimmering greenery, the black tents of his brothers were encased in a fine glaze of ice. So there is magic beyond the Wall after all.

Until I came to New Mexico, I never realized how much beauty water adds to a river.

Have a chance to create a society to match its scenery.

Lighting is everything in a color.

Form is never more than an extension of content.

I attended the Columbus College Of Art & Design for a little while, until I realized they didn't take cartooning very seriously.

Our design, not respecting arts, but philosophy, and our subject, not manual, but natural powers, we consider chiefly those things which relate to gravity, levity, elastic force, the resistance of fluids, and the like forces, whether attractive or impulsive; and therefore we offer this work as mathematical principles of philosophy; for all the difficulty of philosophy seems to consist in this from the phenomena of motions to investigate the forces of nature, and then from these forces to demonstrate the other phenomena.

Impression is not enough. Design, style, technique - these, too, are not enough. Art must reach further than impression or self-revelation .

Beauty is all about form; proportions and the relationships between one line and another.

The fusion of art and technology that we call interface design.

Everything can inspire me. I know that sounds like a cop-out answer, but I find inspiration in literally just about everything. As an actor, I have to watch people and observe their behaviors - this is how I create characters. My daily surroundings feed my work, whether it's something I'm working on right now or it's something down the road. Music, art, landscape - these are all things I draw inspiration from.

Art is about people. I think the discussion about whether architecture is art or not is lamebrain.

I always want to design a frame that’s open to everyone. I don’t see art as a secret code.

A handful of men working within the Zen sect of Buddhism created gardens in fifteenth-century Japan which were, and still are, far more than merely an aesthetic expression. And what is left of the earlier Mogul gardens in India suggests that their makers were acquainted with what lay behind the flowering of the Sufi movement in High Asia and so sought to add further dimensions to their garden scenes.

It's useful because it's beautiful.