Who made art history? Not the most reasonable people. The mad men did. If painting is the mirror of a time, it must be mad to have a true image of what that time is. To one madness we oppose another madness.
Max ErnstRead
Every normal human being (and not merely the 'artist') has an inexhaustible store of buried images in his subconscious, it is merely a matter of courage or liberating procedures ... of voyages into the unconscious, to bring pure and unadulterated found objects to light.
Interpretation
The subconscious mind holds a wealth of creativity and ideas waiting to be discovered and expressed.
Max Ernst emphasizes that every person, not just artists, possesses a rich reservoir of images and thoughts within their subconscious. However, accessing these deep-seated ideas requires courage and methods to explore the unconscious mind, allowing individuals to express their true selves through art and creativity.
In practice
In a motivational talk about discovering inner creativity, one might say, 'As Max Ernst highlights, we all have hidden treasures in our subconscious waiting to be explored.'
Who made art history? Not the most reasonable people. The mad men did. If painting is the mirror of a time, it must be mad to have a true image of what that time is. To one madness we oppose another madness.
Creativity is that marvelous capacity to grasp mutually distinct realities and draw a spark from their juxtaposition.
Painting is neither decorative amusement, nor the plastic invention of felt reality; it must be every time: invention, discovery, revelation.
When the artist finds himself he is lost. The fact that he has succeeded in never finding himself is regarded by Max Ernst as his only lasting achievement.
Collage is the noble conquest of the irrational, the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them.
Painting is not for me either decorative amusement, or the plastic invention of felt reality; it must be every time: invention, discovery, revelation.
My cooking is simply ingredients plus umami.
My task, which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel--it is, before all, to make you see.
Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.
The essence of cinema is editing.
If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.
I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.
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