For me a work of art must be an elevated interpretation of nature. The search for the ideal has been the purpose of my life. In landscape or seascape, I love above all the poetic motif.
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Attributed to Bouguereau in: Sotheby's (Firm). (1994) 19th Century European Paintings, Drawings and Sculpture. p. 123; Cited in: Adolphe William Bouguereau Quotes by Armand Cabrera, Oct. 4, 2010William-Adolphe Bouguereau
» William-Adolphe Bouguereau - all quotes »
The ideal of Morality has no more dangerous rival than the ideal of highest Strength, of most powerful life; which also has been named (very falsely as it was there meant) the ideal of poetic greatness. It is the maximum of the savage; and has, in these times, gained, precisely among the greatest weaklings, very many proselytes. By this ideal, man becomes a Beast-Spirit, a Mixture; whose brutal wit has, for weaklings, a brutal power of attraction.
Novalis
Through the higher love the whole life of man is to be elevated from temporal selfishness to the spring of all love, to God: man will again be master over nature by abiding in God and lifting her up to God.
Meister Eckhart
As citizens of Cheon Il Guk, please have the wisdom to protect and love nature. Return to nature and enjoy a life of liberation and complete freedom. To love nature is to love God and humanity. When human life resonates with nature, human character can blossom in perfection. The flowers of a true culture of heart, a true artistic world, will bloom. It will be the Garden of Eden, the original ideal where human beings and all creation live in complete harmony and express their original nature.
Sun Myung Moon
Nature as it is seen and nature as it is felt, the nature that is there.. (he pointed towards the green and blue plain, J. G.) and the nature that is here (he tapped his forehead, J. G.) both of which have to fuse in order to endure, to live that life, half human and half divine, which is the life of art or, if you will .. the life of god. The landscape is reflected, humanized, rationalized within me. I objectivize it, project it, fix it on my canvas…
Paul Cezanne
Early in the novel [Anna Karenina], Anna meets Vronsky in curious circumstances: they are at the railway station when someone is run over by a train. At the end of the novel, Anna throws herself under a train. This symmetrical composition — the same motif appears at the beginning and the end — may seem quite “novelistic” to you, and I am willing to agree, but only on condition that you refrain from reading such notions as “fictive,” “fabricated,” and “untrue to life” into the word “novelistic.” Because human lives are composed in precisely such a fashion. They are composed like music. Guided by his sense of beauty, an individual transforms a fortuitous occurrence (Beethoven’s music, death under a train) into a motif, which then assumes a permanent place in the composition of the individual’s life. Anna could have chosen another way to take her life. But the motif of death and the railway station, unforgettably bound to the birth of love, enticed her in her hour of despair with its dark beauty. Without realizing it, the individual composes his life according to the laws of beauty even in times of greatest distress. It is wrong, then, to chide the novel for being fascinated by mysterious coincidences. … But it is right to chide man for being blind to such coincidences in his daily life. For he thereby deprives his life of a dimension of beauty.
Milan Kundera
Bouguereau, William-Adolphe
Boucher, Jonathan
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