Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
Oscar WildeRead
In its primary aspect, a painting has no more spiritual message than an exquisite fragment of Venetian glass. The channels by which all noble and imaginative work in painting should touch the soul are not those of the truths of lives.
Interpretation
A painting's beauty does not depend on its deeper meaning, similar to a beautiful piece of glass.
Oscar Wilde suggests that the aesthetic value of art, such as painting, is independent of any spiritual or profound messages it might convey. He emphasizes that true artistic expression should resonate with the soul through beauty and imagination rather than through moral or life truths.
In practice
During an art exhibition, one might use this quote to discuss the nature of artistic beauty.
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
Writing is almost a place of dreams for me, and I don't have to give up anything to do it.
I want to photograph the considerable ceremonies of our present. I want to gather them, like somebody's grandmother putting up preserves, because they will have been so beautiful.
Perhaps it is no surprise I became an entertainer because many of my relatives were natural performers. Dad, who had a fine pair of lungs, was master of ceremonies at East Ham working men's club in east London. I felt so proud when I saw him in his white gloves calling out the names of the dances.
The climate suits me, and London has the greatest serious music that you can hear any day of the week in the world - you think it's going to be Vienna or Paris or somewhere, but if you go to Vienna or Paris and say, 'Let's hear some good music', there isn't any.
I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figurative or abstract, seem to me like prison windows in which the lines, precisely are the bars.
I don't photograph life as it is, but life as I would like it to be.
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