Evocative Imagery Quotes

That art is best which suggests most.

There is poetry in fiction. If you cannot see it and feel it when you write, you need to step back and examine what you are doing wrong. If you have not figured out how to write a simple declarative sentence and make it sing with that poetry, you are not yet ready to write an entire book.

I'll buy a bottle for anyone who can tell me what makes a picture beautiful!

Art has to be able to match life, to respond to the ever-changing forms of the world, to electrify the audience.

Whereas story is processed in the mind in a straightforward manner, poetry bypasses rational thought and goes straight to the limbic system and lights it up like a brushfire. It's the crack cocaine of the literary world.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting.

Painting is the most beautiful of all arts. In it, all sensations are condensed, at its aspect everyone may create romance at the will of his imagination, and at a glance have his soul invaded by the most profound memories, no efforts of memory, everything summed up in one moment. Complete art which sums up all the others and completes them.

Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next.

One has the impression that something is stirring inside [photographs] - it is as if one can hear little cries of despair, gémissements de désespoir... as if the photographs themselves had a memory and were remembering us and how we, the surviving, and those who preceded us, once were.

People assumed we called the record 'Murray Street' because of its proximity to the World Trade Centre, but that wasn't it at all. Before the attacks, I had simply been walking around taking pictures of things, and I had this photograph of the street sign. We felt it was somewhat evocative and decided to use it on the back cover of the album.

If you're a poet, you do something beautiful. I mean, you're supposed to leave something beautiful after you get off the page and everything. The ones you're talking about don't leave a single, solitary thing beautiful. All that maybe the slightly better ones do is sort of get inside your head and leave something there, but just because they do, just because they know how to leave something, it doesn't have to be a poem for heaven's sake. It may just be some kind of terribly fascinating, syntaxy droppings--excuse the expression. Like Manlius and Esposito and all those poor men.

I would paint a portrait which would bring the tears, had I canvas for it, and the scene should be -- solitude, and the figures -- solitude -- and the lights and shades, each a solitude.

It's great when somebody is able to communicate an actual shot sequence to you and you know the world you're inhabiting with that. It's literally a haunting tune.

The aim of literature ... is the creation of a strange object covered with fur which breaks your heart.

Unlike prose writing, the strange process of writing with pictures encourages associations and recollections to accumulate literally in front of your eyes; people, places, and events appear out of nowhere. Doors open into rooms remembered from childhood, faces form into dead relatives, and distant loves appear, almost magically, on the page- all deceptively manageable, visceral, the combinations sometimes even revelatory.

Some photographs are like a Chekhov short story or a Maupassant story. They're quick things and there's a whole world in them. But one is unconscious of it while shooting.

When I read a story, I relive the moment from which it sprang. A scene burned itself into me, a building magnetized me, a mood orseason of Nature's penetrated me, history suddenly appeared to me in some tiny act, or a face had begun to haunt me before I glanced at it.

You must photograph where you are involved; where you are overwhelmed by what you see before you.

A book is more than a verbal structure or series of verbal structures; it is the dialogue it establishes with its reader and the intonation it imposes upon his voice and the changing and durable images it leaves in his memory. A book is not an isolated being: it is a relationship, an axis of innumerable relationships.

That's the kind of visual that you're trying to attract - something that in some way or another, connects you to what's happening there in a realistic way.

Things have to be believable, not in a literal, photographic sense, but in an emotional sense - capturing the essence of the situation.

The great charm of poetry consists in lively pictures of the sublime passions, magnanimity, courage, disdain of fortune; or thoseof the tender affections, love and friendship; which warm the heart, and diffuse over it similar sentiments and emotions.

One of the things that struck me when I was a kid and I was learning about Pompeii was these figures that were frozen in the moments of their death. It is very powerful imagery, and it is very emotional and very evocative.

The most vital things in the look of a landscape endure only for a moment. Work should be done from memory; memory of that vital moment.