Discover the most popular and inspiring quotes and sayings on the topic of Daguerreotype. 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 Daguerreotype Quotes And Sayings by 92 Authors including Ezra Pound,Fernand Leger,Graham Collier,Jonathan Swift,Vincent Van Gogh for you to enjoy and share.
Gloom and solemnity are entirely out of place in even the most rigorous study of an art originally intended to make glad the heart of man. Gravity, a mysterious carriage of the body to conceal the defects of the mind.
I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.
The artist is a man who finds that the form or shape of things externally corresponds, in some strange way, to the movements of his mental and emotional life.
beholders. His features are strong and masculine, with an Austrian lip and arched nose, his complexion olive, his countenance erect, his body and limbs well proportioned, all his motions graceful, and his deportment majestic.
When I have a model who is quiet and steady and with whom I am acquainted, then I draw repeatedly 'til there is one drawing that is different from the rest, which does not look like an ordinary study, but more typical and with more feeling.
Art is the reasoned derangement of the senses.
We see in essence not with two eyes but with three: with the two eyes of the body and with the eye of the mind that is behind them. And it is in this eye of the mind in which the cultural-historical progressive development of the color sense takes place.
The effort to see things without distortion takes something like courage and this courage is essential to the artist, who has to look at everything as though he saw it for the first time.
know a Work of Art from a Daub of Artifice)
Art is pattern informed by sensibility.
When you meet the man [Brassai] you see at once that he is equipped with no ordinary eyes. And the sharpness of vision and depth of insight are revealed in Brassai's lifelong photographic exploration of Paris - its people, places, and things.
The darkening of the world makes the irrationality of art rational: radically darkened art.
Whatever the practical origins of aesthetic discernment may have been, it has been used to create great works of art. When the very loftiest human creations are seen to derive from humble origins and functions, what needs revision is not our esteem for these creations but our notion of nobility.
Paintings. Or the collapse of time in images.
The creation of a work of art must of necessity, as a result of entering into the specific dimensions of pictorial art, be accompanied by distortion of the natural form. For, therein is nature reborn.
Beauty is not the purpose of creation, it is its reward. Its appearance, often late in the day, is no more than an indication that the disrupted equilibrium between man and nature has once again been restored by art. Submitted to this test, what remains of contemporary works of art?
A shudder runs through the viewer of old photographs. For they make visible not the knowledge of the original but the spatial configuration of a moment; what appears in the photograph is not the person but the sum of what can be subtracted from him or her.
I'm interested in the landscape of the face, the way in which light and shadow fall across the forms. That's really my subject matter.
If the artist only reproduces superficial features as photography does, if he copies the lineaments of a face exactly, without reference to character, he deserves no admiration. The resemblance which he ought to obtain is that of the soul.
Photography is a contest between a photographer and the presumptions of approximate and habitual seeing. The contest can be held anywhere ...
Innate in nearly every artistic nature is a wanton, treacherous penchant for accepting injustice when it creates beauty and showing sympathy for and paying homage to aristocratic privilege.
What has reason to do with the art of painting?
All artistic discoveries are discoveries not of likenesses but of equivalencies which enable us to see reality in terms of an image and an image in terms of reality.
There is a love for the real, an affection for the true, in all of Dutch art. A church interior with its stillness. A hand with its gesture. A landscape with its distances. A cloud with its motion.
The greatest artists have never been men of taste. By never sophisticating their instincts they have never lost the awareness of the great simplicities, which they relish both from appetite and from the challenge these offer to skill in competition with popular art.
Every day I studied the nude, and movement in the streets and in the shops. Out of the naturalistic surface with all its variations I wanted to derive the pictorially determined surface.
Almost every artistic nature is born with a revealing connoisseurial tendency that appreciates injustice so long as it results in beauty and applauds, even worships aristocratic privilege.
Legions of grotesques sweep under his hand; for has not nature too her grotesques - the rent rock, the distorting lights of evening on lonely roads, the unveiled structure of man in the embryo, or the skeleton?
Any marked peculiarity in the face indicates a similar peculiarity of disposition
In Degas's compositions with several dancers, their steps, postures and gestures often resemble the almost geometric, formal letters of an alphabet, whereas their bodies and heads are recalcitrant, sinuous and individual.
A distinction is made between artists who work directly from nature and those who work purely from imagination. Neither if these methods should be preferred to the exclusion of the other. Often both are used in turn by the same man ...
Through photography, both artist and scientist can find a common denominator in their search for the synthesis of modern vision in time, space and structure.
You need to characterize beauty by association.
The importance of colour is as nothing compared with that of form, chiaroscuro and arrangement. They are the true and enduring bases of pictorial art.
I wish to be of service to the artists of our own day, by showing them how a small beginning leads to the highest elevation, and how from so noble a situation it is possible to fall to utmost ruin, and consequently, how these arts resemble nature as shown in our human bodies.
Delphine Lucielle's paintings are profound, unique, and moving. It is rare to find contemporary art that combines both beauty, innovation, and creates a new style of painting by fusing technology and nature. Delphine Lucielle is pushing the boundaries of what art is capable of.
The counterfeit and counterpart of Nature is reproduced in art.
Photographic data ... is still and ESSENTIALLY THE SAFEST POETIC MEDIUM and the most agile process for catching the most delicate osmoses which exist between reality and surreality. The mere fact of photographic transposition means a total invention: the capture of a secret reality.
Light is impressionism.
A Companion Picture XII. The Fellow of Delicacy XIII.
When an artist begins to count strokes instead of regarding nature he is lost. This preoccupation with technique, at the expense of truth and sincerity, is the principal fault I find in much of the work of modern painters.
Art has a double face, of expression and illusion, just like science has a double face: the reality of error and the phantom of truth.
Beauty alters the grain of reality.
Many artists, having assimilated the Conceptualists' explorations to varying degrees, have reused the painterly model and use photography, quite consciously and systematically, to produce works that stand alone and exist as photographic paintings ...
The transposition that a painter makes with an original vision gives to the representation of nature a new interest.
Nature does not turn out her work according to a single pattern; she prides herself upon her power of variation ...
Photography has a natural affinity for the strategies of surrealism - the exaltation of chance and eros, the exploration of obsession and the release of the unconscious.
Asexual, aseasonal, rectangular, slick palette of blacks, touches of pure grays and intense dark blues.
In the sphere of natural investigation, as in poetry and painting, the delineation of that which appeals most strongly to the imagination, derives its collective interest from the vivid truthfulness with which the individual features are portrayed.
The heavy odds against finding the desired ... work of art in the mess and flux of life, as opposed to the serene orderliness of imagined reality, give a special tense dazzle and an atmosphere of tour de force to any photographs that succeed in the search.
Cubism. Seeing beyond what is on the surface. Moving both eyes and a nose to the side of the face. Dicing bodies and tables and guitars as if they were celery sticks, and rearranging them so that you have to really see them to see them.
In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color.
Art brings out the grand lines of nature. Antione Bourdelle
If art is the poetic interpretation of nature, photography is the exact translation; it is exactitude in art or the complement of art. (1854)
All our distinctions ire accidental; beauty and deformity, though personal qualities, are neither entitled to praise nor censure; yet it so happens that they color our opinion of those qualities to which mankind have attached responsibility.
Have you never seen a strange unconnected deformed representation of a figure, which seen in another point of view, became proportioned and agreeable? It is the picture of man.
It is because of the servility of photography that I am fundamentally contemptuous of this chance invention which will never be an art but which plagiarizes nature by means of optics. (1848)
I have an obsession with details and pattern.
I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.
I'm interested in the movement of the eyes across the painting.
In most of my photographic pieces I have manipulated the quality of the evidence that people assign to photography, in order to subvert it, or to show that photography lies - that what it conveys is not reality but a set of cultural codes.
Perceptions are portraits, not photographs, and their form reveals the artist's hand every bit as much as it reflects the things portrayed
[the photographer] can be considered a kind of disembodied burrowing eye, a conspirator against time and its hammers. His work, print after print of it, seems to call to be shown before the decay which it portrays flattens all ... Here are the records of the age before an imminent collapse.
Caught Beauty , held to light, now apes A good, now evil, thing the shifting sign And spectrum of archaic, psychic shapes.
In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value.
Art itself shuns commonality: while the scientist may seek the phenomenon that repeats itself, the artist seeks the exception.
I became fascinated by the notion of dispelling stereotypes or misconceptions through photography, of presenting the counterintuitive.
[David] Salle's earlier work had been marked by a kind of spaciousness, sometimes an emptiness, such as surrealist works are prone to. But here everything was condensed, impacted, mired. The paintings were like an ugly mood.
The paradox in the evolution of French painting from Courbet to Cezanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.
His features are strong and masculine, with an Austrian lip and arched nose, his complexion olive, his countenance erect, his body and limbs well proportioned, all his motions graceful, and his deportment majestic. He
Pictures, apart from their aesthetic interest, can achieve the mysterious fascination of those enigmatic scrawls on walls, the expression of Heaven knows what psychological urge on the part of the executant;
Photography intervenes in a very strange way. It makes the streets, gates, squares of the city into illustrations of a trashy novel, draws off the banal obviousness of this ancient architecture to inject it with the most pristine intensity ...
With the willingness of Time-Life and a team of historians, forensic anthropologists, photographic experts, and cutting edge technology, the means are at hand to recognize the participants in Alfred Eisenstaedt's beloved photograph.
While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus build the table.
Certain art hungers for context.
Photography is the recording of strangeness and beauty with beguiling precision.
My problem is to bring together in a painting two seemingly conflicting, impossibly unmixable ideas. One is that the finished work shall evoke a sense of recognition, of the mysteriously familiar ... the other is that in order to do the first I must deeply know my subject ...
I am interested in the conventions of picture-making, in the desire to picture the world and in our relationship, our continual love for and fascination with pictures.
Photography is a reality so subtle that it becomes more real than reality.
In art, there is one thing which does not receive sufficient attention. The element which is left to the human will is not nearly so large as people think.
Beauty, like ecstasy, has always been hostile to the commonplace. And the commonplace, under its popular label of the normal,has been the supreme authority for Homo sapiens since the days when he was probably arboreal.
Every successful painter has worked hard. He cannot rest after having gained a certain degree of facility in drawing, and expect to retain it. He must advance or fall behind. Without practice he will forget; his eye will fail him; and his hand will deny its master.
If in all ideology men and their circumstances appear upside-down as in a camera obscura, this phenomenon arises just as much from their historical life-process as the inversion of objects on the retina does from the physical life-process.
An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it.
A likeness different from the products of the God-fearing photographer.
It is better decoration when, in painting, some monstrosity is introduced for variety and a relaxation of the senses and to attract the attention of mortal eyes, which at times desire to see that which they have never seen ...
What a conception of art must those theorists have who exclude portraits from the proper province of the fine arts! It is exactly as if we denied that to be poetry in which the poet celebrates the woman he really loves. Portraiture is the basis and the touchstone of historic painting.
Choice and chance structure art and nature.
Since the age of six I have had the habit of sketching forms of objects. Although from about fifty I have often published my pictorial works, before the seventieth year none is worthy.
Art employs method for the symmetrical formation of beauty, as science employs it for the logical exposition of truth; but the mechanical process is, in the last, ever kept visibly distinct, while in the first it escapes from sight amid the shows of color and the curves of grace.
The splitting up of color [as Impressionists did] brought the splitting up of form and contour ... Everything is reduced to a mere sensation of the retina, but one which destroys all tranquility of surface and contour. Objects are differentiated only by the luminosity that is given them.
the illusion of the artistic rendering of a nerve stimulus into images is, if not the mother, then at least the grandmother of every concept. In
How often we have had cause to regret that the histrionic art, of all the fine arts the most intense in its immediate effect, should be, of all others, the most transient in its result! - and the only memorials it can leave behind, at best, so imperfect and so unsatisfactory!
Photography is the easiest thing in the world if one is willing to accept pictures that are flaccid, limp, bland, banal, indiscriminately informative, and pointless. But if one insists in a photograph that is both complex and vigorous it is almost impossible
An artist recreates those aspects of reality which represent his fundamental view of man's nature.
I'm interested in contemporary vision - the flicker of chrome, reflections, rapid associations, quick flashes of light. Bing! Bang!
There is a curious law of art ... that even the attempt to reproduce the act of seeing, when carried out with sufficient energy, tends to lose its realism and take on the unnatural glittering intensity of hallucination.
Photography is simultaneously and instantaneously the recognition of a fact and the rigorous organization of visually perceived forms that express and signify that fact
As a child growing up among artists I learned to think of a picture not as a finished product exposed for the admiration of the virtuosi, but as the visible record, lying about the house, of an attempt to solve a definite problem in painting.
Nature engenders the science of painting.