You might curb your magnanimity, and be more of an artist, and load every rift of your subject with ore.
--
Letter to Percy Bysshe Shelley (August 1820).John Keats
The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity.
Whitney Chadwick
There was nothing languid or easygoing about Enoch Powell...he was probably the most intellectually formidable of the men who have passed through the Research Department. He took an interest in almost every subject, and on almost every subject he had a strong and pungently expressed views. Only some of these were eccentric...Powell has an inventive mind. He has also a warm heart and I think it a thousand pities that he ever made his first notable speech on immigration, when the Tiber was to run with blood. This led him on to an incurable rift with his own party leaders which has been made wider by the variety of causes of schism which he espouses. Powell could be a most valuable lieutenant instead of a lost assailant, and this is a pity.
Enoch Powell
Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.
Kenneth Clark
In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
Guity Novin
The ass will carry his load, but not a double load; ride not a free horse to death.
Miguel de Cervantes
Keats, John
Keble, John
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