Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
Oscar WildeRead
I think it is perfectly natural for any artist to admire intensely and love a young man. It is an incident in the life of almost every artist.
Interpretation
Artists often form intense connections with young subjects, reflecting a natural admiration in their creative process.
Oscar Wilde's quote suggests that it's common for artists to feel a deep admiration and affection for young individuals, viewing this as a crucial incident in their artistic journey. This admiration can serve as both inspiration and muse, revealing the intimate connection between creativity and emotional experiences.
In practice
During an art exhibition, one might quote Wilde to illustrate the deep emotional connections artists share with their subjects.
Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
London is too full of fogs and serious people. Whether the fogs produce the serious people, or whether the serious people produce the fogs, I don't know.
When one has never heard a man's name in the course of one's life, it speaks volumes for him; he must be quite respectable.
Men always want to be a woman's first love - women like to be a man's last romance.
A truth ceases to be true when more than one person believes in it.
His morality is all sympathy, just what morality should be
What a privilege and honour it has been to be part of seven years of magic in a tent - 'The Great British Bake Off.'
A good poem looks life straight in the face, unflinching, sincere, equal to revelation through loss or gain.
But if a stranger in the train asks me my occupation, I never answer "writer" for fear that he may go on to ask me what I write, and to answer "poetry" would embarrass us both, for we both know that nobody can earn a living simply by writing poetry.
Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
We usually evaluate creative process in terms of how much feeling or thinking was behind the work or how well the work was done. Isn't there any other way of appreciating the process? What if the standard of excellence was how fully present the artist was during the process?
Artists are here to disturb the peace.
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