John Keegan Quotes

In teaching color, you teach people how to look something and see the tone in it and break it down to be able to paint it and reproduce that color. But then, I'm psychedelic, so I look at color differently. I like colors that are in contrast with one another, so that they flicker back and forth.

You buy any book on color theory today, and it's just complete poppycock. Everybody comes out of school painting pink, purple and green. The whole damn cartoon industry has pink purple and green on their mind.

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.

Already in 1915, Sophie Tauber divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly as Mondrian, Itten and Paul Klee did in the same period, fh). She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.

My pictures are made up of four or five colors that collide with one another.

Vermilion alone could render the brilliant red of the tiles on the opposite slope. The orange of the soil, the harsh crude colors of the walls and greenery, the ultramarine and cobalt of the sky achieved an extreme harmony that was sensually and musically ordered.

Color is like cooking. The cook puts in more or less salt, that's the difference!

I have sat here happy in the gardens, Watching the still pool and the reeds And the dark clouds. . . . But though I greatly delight In these and the water lilies, That which sets me nighest to weeping Is the rose and white colour of the smooth flag-stones, And the pale yellow grasses Among them.

Power remains strong when it remains in the dark; exposed to the sunlight it begins to evaporate.

As long as people have been on this earth, the moon has been a mystery to us. Think about it. She is strong enough to pull the oceans, and when she dies away, she always comes back again. My mama used to tell me Our Lady lived on the moon and that I should dance when her face was bright and hibernate when it was dark.

We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame. If white people are pleased, we are glad. If they are not, it doesn't matter. We know we are beautiful. And ugly too. The tom-tom cries and the tom-tom laughs. If colored people are pleased, we are glad. If they are not, it doesn't matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves.

I know that the battle scenes, as well, are quite gory and quite strong. Battle was romantic, but it was far from being easy. It's nice, in both respects, to have that color and contrast.

Over all life broods Poesy, like the calm blue sky with its motherly, rebuking face. She is the great reformer, and where the love of her is strong and healthy, wickedness and wrong cannot long prevail.

My core competency has really informed my painting. The roots of editing stem from classical paintings - classic painters intended to drive your eye from this conflict to that intrigue, ending with a caprice. That is a montage, that is editing. It became a flipbook in later generations.

I had to find a way to paint abstractly, which is what I wanted to do. I couldn't forget Wassily Kandinsky and Kazimir Malevich and Piet Mondrian, I mean that was the basis.

The only hope I had was when (in his youth)I saw one day a photograph of a sculpture by Wilhelm Lehmbruck, a German sculptor of expressionistic style. This was perhaps the only example, Lehmbruck, between my sixteenth to nineteenth years in which I saw a possibility for art to be principally of interest to innovate some things, instead of writing a very boring, naturalistic repetition of what is already done by nature.

I seem initially to have followed Fauvism, and then to have followed in Cézanne's footsteps. Whatever - I do not mind... as long as first of all I remained Vlaminck.

All art is propaganda. ... The only difference is the kind of propaganda. Since art is essential for human life, it can't just belong to the few. Art is the universal language, and it belongs to all mankind. All painters have been propagandists or else they have not been painters. ... Every artist who has been worth anything in art has been such a propagandist. ... Every strong artist has been a propagandist. I want to be a propagandist and I want to be nothing else. ... I want to use my art as a weapon.

Far clouds of feathery gold, Shaded with deepest purple, gleam Like islands on a dark blue sea.

Out of doubt, out of dark to the day's rising I came singing into the sun, sword unsheathing. To hope's end I rode and to heart's breaking: Now for wrath, now for ruin and a red nightfall!

Every single day is a battle to stay strong.

And it is not always good to be healed in body. Nor is it always evil to die in battle, even in bitter pain. Were I permitted, in this dark hour I would choose the latter.

Few artists have influenced the sound and trajectory of popular music more distinctly, or touched quite so many people with their talent. A strong spirit transcends rules,' Prince once said - and nobody's spirit was stronger, bolder, or more creative. Our thoughts and prayers are with his family, his band, and all who loved him.

I don't have lots of things in the background. I do like large faces, I find them strong and contemporary.

Laura felt a warmth inside her. It was very small, but it was strong. It was steady, like a tiny light in the dark, and it burned very low but no winds could make it flicker because it would not give up.