The great decisions of human life have as a rule far more to do with the instincts and other mysterious unconscious factors than with conscious will and well-meaning reasonableness. The shoe that fits one person pinches another; there is no recipe for living that suits all cases. Each of us carries his own life-form—an indeterminable form which cannot be superseded by any other.
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p. 69Carl Jung
Every archetype is capable of endless development and differentiation. It is therefore possible for it to be more developed or less. In an outward form of religion where all the emphasis is on the outward figure (hence where we are dealing with a more or less complete projection) the archetype is identical with externalized ideas but remains unconscious as a psychic factor. When an unconscious content is replaced by a projected image to that extent, it is cut off from all participation in an influence on the conscious mind. Hence it largely forfeits its own life, because prevented from exerting the formative influence on consciousness natural to it; what is more, it remains in its original form — unchanged, for nothing changes in the unconscious.
Carl Jung
Pedantry and mastery are opposite attitudes toward rules. To apply a rule to the letter, rigidly, unquestioningly, in cases where it fits and in cases where it does not fit, is pedantry. ... To apply a rule with natural ease, with judgment, noticing the cases where it fits, and without ever letting the words of the rule obscure the purpose of the action or the opportunities of the situation, is mastery.
George Polya
The reckoning with idealism as a view of life is universal, but it also touches on something central in art-its life’s substance. One must understand that it is impossible to distinguish between a picture’s form and its substance. As the flower’s structure is governed by the intentional tension (when it loses the sap the form is lost), so also with art the substance creates the tension. Form and substance are one and the same. Form is the life expression and substance the living painting.
Asger Jorn
Our sense of touch is a fundamental sensibility which comes into action at birth – our stereognostic sense – the ability to feel weight and form and assess its significance. The form which have had special meaning for me since childhood have been the standing form (which is the translation of my feelings towards the human being standing in the landscape) the two forms (which is the tender relation of one living thing besides another); and the closed form, such as the oval, spherical or pierced form (sometimes incorporating colour) which translates for me the association and meaning of gesture in landscape; in the repose of say a mother and child… …In all these shapes the translation of what one feels about man and nature must be conveyed by the sculptor in terms of mass, inner tension, and rhythm, scale in relation to our human size and the quality of surface which speaks through our hands and eyes.
Barbara Hepworth
I think the circle is very abstract. I could make up stories of what the circle means to men, but I don't know if it is that conscious. I think it was a form, a vehicle. I don't think I had a sexual anthropomorphic, or geometric meaning. It wasn't a breast and it wasn't a circle representing life and eternity....I remember always working with contradiction and contradictory forms which is my idea also in life. The whole absurdity of life, everything for me has always been opposite. Nothing has ever been in the middle. When I gave you my autobiography, my life never had anything normal or in the center. It was always extremes.
Eva Hesse
Jung, Carl
Junius
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