I have had three masters, Nature, Velasquez, and Rembrandt.
Francisco GoyaRead
Painting, like poetry, selects in the universe whatever she deems most appropriate to her ends. She assembles in a single fantastic personage, circumstances and features which nature distributes among many individuals. From this combination, ingeniously composed, results that happy imitation by virtue of which the artist earns the title of inventor and not of servile copyist.
Interpretation
Art allows creators to select and combine elements from the world to produce something unique and original.
In this quote, Francisco Goya conveys the idea that artists, much like poets, curate and assemble various aspects of the world to create art that is not merely imitative but innovative. This creative process transforms ordinary components into a distinctive vision, allowing the artist to be recognized as an inventor rather than a mere replicator of nature.
In practice
This quote could be used in a speech about the importance of creativity in personal expression.
I have had three masters, Nature, Velasquez, and Rembrandt.
The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.
Monsters are the result of the sleep of reason.
Music can be healing, and with my history and my knowledge of both sides of what looks like a gigantic divide in the world, I feel I can point a way forward to our common humanity again.
Colors are the deeds/ and sufferings of light.
Every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dali, and I ask myself, wonderstruck, what prodigious thing will he do today, this Salvador Dali.
If you're actually allowing your creative part to control your writing rather than a more commercial instinct or motive, then you'll find that all sorts of interesting things will bubble up to the surface.
There are only 24 hours in a day, and my top priority is working on my films, but I love short film experiments.
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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