Discover the most popular and inspiring quotes and sayings on the topic of Aspect. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Aspect Quotes And Sayings by 92 Authors including Ben Shahn,William Ellery Channing,Giorgio Morandi,Arthur P. Ciaramicoli,Herman Melville for you to enjoy and share.
Form is the shape of content ...
An earnest purpose finds time, or makes it. It seizes on spare moments, and turns fragments to golden account.
Nothing is more abstract than reality.
Authenticity soothes the soul.
There is an aesthetics in all things.
It is the mysterious touch of the ideal that animates and sustains the real, and through it alone we can discover and affirm the ideal.
Realism to be effective must be a matter of selection.genius chooses its materials with a view to their beauty and effectiveness; mere talent copies what it thinks is nature, only to find it has been deceived by the external grossness of things.
Intemperance weaves the winding-sheet of souls.
The countenance is the portrait of the soul, and the eyes mark its intentions.
However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.
All I can say about the work I try to do, is that the aesthetic is in reality itself.
The tendency of our perceptions is to emphasise increasingly the objective elements in an impression, unless we have some special reason, as artists have, for doing the opposite.
When the whole and the parts are seen at once, as mutually producing and explaining each other, as unity in multeity, there results shapeliness.
Intricacy that counts is mainly intricacy at eye level, change in the rise of ground, groupings of trees, openings leading to various focal points - in short, subtle expressions of difference. The subtle differences in setting are then exaggerated by the differences in use that grow up among them.
Fate and temperament are the names of a concept.
Between the subject and the object lies the value.
The inner drama is the meaning of the exterior event.
When you take a photo at 1/1000 of a second, the moment can become an eternal fact, an eternal moment. So we have a philosophical problem of objectivity and subjectivity.
What is it which has always come between real life and me? What glass screen has, as it were, interposed itself between me and the enjoyment, the possession, the contact of things, leaving me only the role of the looker-on?
The habits of life form the soul, and the soul forms the countenance.
It takes the passage of time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the everydayness of life gets in the way of the eternal.
The Heart of the matter is Soul, nothing else ...
What else is soul but a listener?
Details create the big picture.
From the outset my main concern was with the shape and the self-contained nature of discrete things, the curve of banisters on a staircase, the molding of a stone arch over a gateway, the tangled precision of the blades in a tussock of dried grass.
To see the object as in itself it really is
Somewhere in the heart of experience there is an order and a coherence which we might purprise if we were attentive enough, loving enough, or patient enough.
Trust in the fictive process, in the occult interweaving of text and event must be unwavering and absolute. This is the magic place, the mad place at the spark gap between word and world.
Style is the substance of the subject called unceasingly to the surface.
Nothing is less real than realism. Details are confusing. It is only by selection, by elimination, by emphasis, that we get at the real meaning of things.
There is a brief moment when all there is in a man's mind and soul and spirit is reflected through his eyes, his hands, his attitude. This is the moment to record.
Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.
If you seek just a little truth, as most, you should not ignore abstract forms, the basis from which all short-lived experiences we call reality springs.
Time, that most abstract of humanity's homes.
Every skill, every talent, every capacity, and every ability of the mind are really the Soul-action made visibly tangible.
The formless dimension of life is this moment. This moment is timeless and formless - the eternal itself.
As the writer, I may choose to ignore the emotional heart of the matter, and focus on details, and trust that the heart of the matter will be conveyed nevertheless.
Finding the physical aspect is important to me because that is often how we read people in everyday life.
This is the merit and distinction of art: to be more real than reality, to be not nature but nature's essence.
art as the spirit wanes the form appears.
Detail is the heart of realism, and the fatty degeneration of art.
To think straight, it is advisable to expect all qualities and attributes, adjectives, and so on to refer to at least two sets of interactions in time.
Style is the hallmark of a temperament stamped upon the material at hand.
There are opposing forces in all living things. My work reflects this and stirs up a contrast of emotions in the viewer ... perception versus annoyance. To the viewer who has reached that level of awareness, my work is no longer abstract, but very real.
The frame announces that between the part of reality that was cut away and this part there is a difference; and that this segment which the frame frames is an example of nature-as-representation, nature-as-sign.
The defining qualities are about use: ease and simplicity. Caring beyond the functional imperative, we also acknowledge that products have a significance way beyond traditional views of function.
There is a hidden power in details
In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession.
Music, states of happiness, mythology, faces belaboured by time, certain twilights and certain places try to tell us something, or have said something we should have missed, or are about to say something; this imminence of a revelation which does not occur is, perhaps, the aesthetic phenomenon.
Techniques employ four qualities that reflect the nature of our world. Depending on the circumstance, you should be: hard as a diamond, flexible as a willow, smooth-flowing like water, or as empty as space.
In stamping photography with the patent of realism, society does nothing but confirm itself in the tautological certainty that an image of reality that conforms to its own representation of objectivity is truly objective.
When it is imperative to make a vivid offering towards life then a simulated introspection for all possible dimensions may be endured to establish a relationship with external world and world within
The object becomes aesthetically significant when it becomes metaphysically significant.
To be memorable and to have dramatic impact, informational detail must function actively within the dynamic of a story.
Quality involves living the message of the possibility of perfection and infinite improvement, living it day in and day out, decade by decade.
Whether you listen to a piece of music, or a poem, or look at a picture or a jug, or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.
One wants to see the artifice of the thing as well as the subject.
We refuse to recognize problems of form, but only problems of building. Form is not the aim of our work, but only the result. Form, by itself, does not exist. Form as an aim is formalism; and that we reject.
It would follow that 'significant form' was form behind which we catch a sense of ultimate reality.
All appearances are real and negatio; sophistical: All reality must be sensation.
Things gain meaning by being used in a shared experience or joint action.
The authentic insight and experience of any human soul, were it but insight and experience in hewing of wood and drawing of water, is real knowledge, a real possession and acquirement.
The motif must always be set down in a simple way, easily grasped and understood by the beholder. By the elimination of superfluous detail, the spectator should be led along the road that the artist indicates to him, and from the first be made to notice what the artist has felt.
The conscious principle in this design has been to achieve forms that could create experiences, and that could at the same time welcome everyone's experiences with the serenity of an effortless development.
Parts are not to be examined till the whole has been surveyed; there is a kind of intellectual remoteness necessary for the comprehension of any great work in its full design and its true proportions; a close approach shews the smaller niceties, but the beauty of the whole is discerned no longer.
I believe in focusing on details.
The unseen essential can be described in many ways and comes in many forms, but is always preceded by virtue.
This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition - an organic coordination of visual elements.
[T]he object of any subject is nothing else than the subject's own nature taken objectively.
The truth within moves as intimacy of being.
We want Realism's wealth of experience and Symbolism's depth of feeling. All art is a problem of balance between two opposites.
Not in our make-up, to be sure - not in the pose which is preceded by the tantaras of a trumpet - do the essential traits in our character first reveal themselves. But truly in the little things the real self is exteriorised.
Point of view is everything.
Even an ugly, abject photograph bears the recording of its making ... my goal [is] to create dense objects, works in which many lines of thought converge.
In certain almost supernatural states of the soul, the profundity of life reveals itself entirely in the spectacle, however ordinary it may be, before one's eyes. It becomes its symbol.
An object should be judged by whether it has a form consistent with its use.
The aspects of a thing that are most important to us are hidden to us because of their simplicity and familiarity.
BARQI: AESTHETICS IS ONLY THE LOWEST FORM OF PERCEPTION OF THE REAL.
Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.
Idealism and realism meet in the actual.
Life can only be experienced in myriad of intricate forms, but can be understood only in abstract.
Here/Now/Present is the doorway to abstract - the divine nothingness
Actions are but lifeless forms whose soul is the secret of sincerity in them
I will try to account for the degree of my aesthetic emotion. That, I conceive, is the function of the critic.
The petty cares, the minute anxieties, the infinite littles which go to make up the sum of human experience, like the invisible granules of powder, give the last and highest polish to a character.
We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless.
The material presence of the work only serves as a conveyer launching an invitation to the observer to take part of the comprehensive game of the thousand and one emotions and visions.
All life rests on appearance, art, illusion, optics, the need for perspective and for error ...
The Soul's doership has arisen due to ignorance. Because of this, the inner working components of antaskaran [mind, intellect, chitta and ego] have arisen, and so has the relative-self [prakruti].
My work involves the physical manifestation of emotional reality. Thus, the invisible becomes visible; the normal, abnormal; and the familiar, unfamiliar. Ordinary life is an endless source of fascination to me in its ritualistic objects and behavior.
Realism is in the work when idealism is in the soul, and it is only through idealism that we resume contact with reality.
Point of departure: matter; point of arrival: the soul.
Two characteristic marks have above all others been recognized as distinguishing that which has soul in it from that which has not - movement and sensation.
Authenticity is essential to the soul!
Beauty is the main positive form of the aesthetic assimilation of reality, in which aesthetic ideal finds it direct expression.
To so enter into it in nature and art that the enjoyed meanings of life may become a part of living is the attitude of aesthetic appreciation.
The aspects of things that are most important for us are hidden because of their simplicity and familiarity. (One is unable to notice something because it is always before one's eyes.) The real foundations of his enquiry do not strike a man at all
Photography's central sense of purpose and aesthetic: the precise and lucid description of significant fact.
Even a part of an object has value. A whole new realism resides in the way one envisages an object or one of its parts.
they experience - what they see, hear, think, and
The details are not the details. They make the design.