Artistic Harmony Quotes

When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

I want to get us out of a place where the veterans are chastising the new artists and vice versa. I think we should all just support each other.

The duty of the words is to say just as much as the music has left unsaid and no more.

It was hard to see the ‘art’ because everything partook of the art. Even the victrola had been painted so as to be in harmony. I must have missed a lot, because it was all one big decor, and the things in the foreground were lost against the things behind. But behind all was the wall running from one window to the other and at a certain spot Mondrian had tacked on it rectangles of the primary colors, and black, gray + white. In fact there were several whites, some shiny some matte.

When I'm on stage, I feel very much at home - within a theater, within an ensemble - so this entire process is something I feel very attuned with.

The power of nature is what all art strives to be. The more we can get in tune with the harmony of the planet, the more our art can benefit from that relationship.

Still follow sense, of ev'ry art the soul, Parts answering parts shall slide into a whole.

To paint is not to copy the object slavishly, it is to grasp a harmony among many relationships.

The best pictures differentiate themselves by nuances...a tiny relationship - either a harmony or a disharmony - that creates a picture.

When I do a film, I try and see how in tune I am with the director.

In almost every task involving form, there are dozens, often hundreds of contradictory elements, which need to be forced to work in harmony by man's will. This harmony can be acheived only through art.

When I judge art, I take my painting and put it next to a God made object like a tree or flower. If it clashes, it is not art.

I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.

I make collages. I join the shattered world creating a new harmony.

Many people say that I don't know how to draw because I don't draw particular forms. When will they understand that execution, drawing and color (in other words, style) must be in harmony with the poem?

The only problem in art is to achieve a balance between the subjective and the objective.

. . .art is a discovery of harmony, a vision of disparities reconciled, or shape beneath confusion.

To achieve vital harmony in a picture it must be constructed out of parts in themselves incomplete, brought into harmony only at the last stroke.

In a work of art, chaos must shimmer through the veil of order.

If the whole is to be Art, the parts must not try to be.

For those who feel it, nothing makes the soul so religious and pure as the endeavor to create something perfect; for God is perfection, and whoever strives after it, is striving after something divine. True painting is only the image of the perfection of God, a shadow of the pencil with which he paints, a melody, a striving after harmony.

In every good poem everything must be both deliberate and instinctive. That is how the poem becomes ideal.

We don't fight about music. We don't fight about artistic direction. The things like that we could fight about, we really don't. We are pretty lucky for that.

A successful work of art is not one which resolves objective contradictions in a spurious harmony, but one which expresses the idea of harmony negatively by embodying the contradictions, pure and uncompromised, in its innermost structure.

Were we to aim in every case at the kind of supreme beauty exemplified by Sta Maria della Salute, we should end with aesthetic overload. The clamorous masterpieces, jostling for attention side by side, would lose their distinctiveness, and the beauty of each of them would be at war with the beauty of the rest.