Quotes About Still life

They want it all as detailed as possible because even the tiniest things mean something. Whenever you see flies or insects in a still life -- a wilted petal, a black spot on the apple -- the painter is giving you a secret message. He's telling you that living things don't last -- it's all temporary. Death in life. That's why they're called natures mortes. Maybe you don't see it at first with all the beauty and bloom, the little speck of rot. But if you look closer -- there it is.

If you try to observe the world for long enough through the perfect lens, then one day it will surely settle permanently into place, and then every object is a still life. You live in the moments between blinks.

I am essentially a painter of the kind of still life composition that communicates a sense of tranquillity and privacy, moods which I have always valued above all else.

When you are modelling, you are creating a picture, a still life, perhaps something like a silent film. You convey emotion but you are only using your body.

The ability to portray people in still life and in motion requires the highest measure of intuition and talent.

Guston tacked toward celebrating the crap of life not for its own ironic sake, but as the ever-present still life that surrounds the embarrassingly, even tragically human. No Duchampian object is ever tragic. Many if not most of Guston's objects, even the most hilarious, are.

I was primarily interested in people, and people in action, so that I did nothing photographically in the sense of doing buildings for their own sake or a still life or anything like that.

The microscopes that magnified the tears, studied warts and all. Still life flows on.

I love painting still lifes because there's a feeling of musical, flowing experience. The drawing doesn't matter as much - what you're really after is a feeling of clarity and beauty.

I intend to create a new work of art, all my own. A still life, of sorts. You three will be vital parts of the process. Rejoice in your good fortune." In the sterile environment of the laboratory, with the cold assistance of his personal robot guards, Erasmus proceeded to vivisect the trio of victims, oblivious to their screams. "I want to get to the heart of the matter," he quipped, "the lifeblood of it.

The highest architectural cunning could have done nothing to make Hintock House dry and salubrious; and ruthless ignorance could have done little to make it unpicturesque. It was vegetable nature's own home; a spot to inspire the painter and poet of still life—if they did not suffer too much from the relaxing atmosphere—and to draw groans from the gregariously disposed.

Bartholomeus went on, 'I wanted to show that these objects are sensitive, suffer at the coming of night, faint at the departure of the last rays, which, by the way, also live in this room; they suffer as much, they fight against the darkness. There you have it. It's the life of things, if you like. The French would call it a nature morte, a picture of inanimate objects. That is not what I'm trying to show. Flemish puts it better: a still life.

There are particular images that I like. Allegro is composed of a series of still life photographs that has been put to speed. There is so much care that has gone into the composition of the cinematography.

I would see languages with shades of each other, like the colours of Cézanne which often have a green with some red a red with some green, in my mind I saw a glowing still life as if a picture of English with French words French with English words German with French words & English words Japanese with French English & German words—I was just about to leave when I met a man who seemed to know quite a lot about Schoenberg.