Quotes About Creativity

to the enjoyments of a writer of romance, conscious of inventive power. If in the mere perusal of novels we lose our painful sense of the realities of "this unimaginable world," and delightedly participate in the sorrows, the joys, and the struggles of the persons, how far more intensely must an authoress like Mrs. Radcliffe feel that outgoing of the heart, by which individuality is multiplied, and we seem to pass a hundred lives!

Incited by the intellectual recompense of such a pursuit, Mrs. Radcliffe gave her romances in quick succession to the world: — her first work, "The Castles of Athlin and Dunbayne," was published in the year 1789; the "Sicilian Romance," in 1790; the "Romance of the Forest," in 1791; "The Mysteries of Udolpho," in 1794; and " The Italian," in 1797.

When we are feeling at a loss in a poem, metaphor comes to the rescue. Metaphor is instructive, tactical, and interactive; it succeeds when its audience sees it as both strange and true. We need metaphor to make the error that allows us to reach beyond ourselves.

Many things could upset Monet. If a meal was bad or a tree branch fell in the garden, it could send him into a rage.

People can't just listen to the music and have their own imagination and take them where they wanna go.

How many poems did I not write? They hang in the air around me, a weird choir, And some day May suffocate me...

Could Beatrice have written like Dante, or Laura have glorified love's pain? I set the style for women's speech. God help me shut them up again!

Half-closes her eyes — eyelids heavy with poems.

The poet has to die many times, Foolish child: he himself chose this way - He couldn't bear the first outrage, He didn't know at what door he stood, He didn't understand what kind of road Would open up before him...

And if you knew from what scraps Poems are born — without shame Like yellow dandelions by a wormy fence, Like wild spinach or the common burr.

Art, even as poetry, was to become not an escape from the narrowness of lived reality, but the overflow of intensified life.

The artist's mind and eye, as the poet's, were subjected to rigorous training. Henceforth, the artist's hands were to create the objects projected from his mind, after its process of selection and alchemy.

There was nothing on any of the canvasses that she would have liked to hide or conceal, nor was she ashamed of being thus exposed through her work, good or bad though it might be, the essence, the unique flavour of days when she had been happily engrossed in recreating a face or a garment, in inventing an effective light, in applying an expressive glaze.

She did horror stories on herself, filling in blanks where I refused to supply information. This meant she wrote the entire script herself.

I was a mimic when I was a child. I mimicked the teacher and made friends that way, actually. That was a very subversive activity, because I was a goody-goody who never got in trouble. But if I went off in the corner and mimicked the teacher, people loved it.

I made a real specific decision when I came out of school and most artists were writing about home - if you were a woman, you were writing about being a woman - and I decided not to do that, write about what you know. That's not what I do. I went as far away from home as possible in terms of the development of my imagination.

Each person has a literature inside them.

I think we can learn a lot about a person in the very moment that language fails them. In the very moment they they have to be more creative than they would have imagined in order to communicate. It's the very moment that they have to dig deeper than the surface to find words, and at the same time, it's a moment when they want to communicate very badly. They're digging deep and projecting out at the same time.

You are an explorer. You understand that every time you go into the studio, you are after something that does not yet exist.

Commit to finding the true nature of art. Go for that thing no one can teach you. Go for that communion, that real communion with your soul, and the discipline of expressing that communion with others. That doesn't come from competition. That comes from being one with what you are doing.

Art requires that you make something else exist that is a representation of what your feeling is, or your idea.

This moment is in the tradition of protest poetry and art that goes back centuries. I hope that this pain will lead to beautiful works of arts."-Anna Deavere Smith

Creative minds have always been known to survive any kind of bad training.

No book has yet been written in praise of a woman who let her husband and children starve or suffer while she invented even the most useful things, or wrote books, or expressed herself in art, or evolved philosophic systems.