Discover the most popular and inspiring quotes and sayings on the topic of Intimations. 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 Intimations Quotes And Sayings by 93 Authors including William Hurrell Mallock,Kim Stanley Robinson,Gaston Bachelard,Hans Hofmann,Alain De Botton for you to enjoy and share.
The landscape of the mind, against which our thoughts and expectations move, when the wind of the imagination is active, changes as quickly as the clouds; and indeed it consists often of several landscapes, semi-transparent and showing through one another.
A sudden gust: How big the world seems in a wind.
For in the end, the irreality function functions as well in the face of man as in the face of the cosmos. What would we know of others if we did not imagine things?
The width of a line may present the idea of infinity. An epigram may contain a world. In the same way, a small picture format may be much more living, much more leavening, stirring, awakening, than square yards of wall space.
Every realistic picture represents a choice as to which features of reality should be given prominence; no painting ever captures the whole ...
our actions have infinite consequences; we have limitless choices, if we open our mind to them. Thus, a shift in imagination brings about a dramatic shift in identity, meaning, value, assumptions and aspirations.
Memories. Weighty emptinesses. I live in a memory the size and shape of a house.
The imagination of man is naturally sublime, delighted with whatever is remote and extraordinary, and running, without control, into the most distant parts of space and time in order to avoid the objects, which custom has rendered too familiar to it.
It is a cliche that human beings are fascinated by size
mountain peaks, high buildings, and whales. We are also amazed by miniatures
a flea on a mouse, a flea on a trapeze, the Last Supper carved on the head of a pin.
There is only one admirable form of the imagination: the imagination that is so intense that it creates a new reality, that it makes things happen.
It is my intention to present - through the medium of photography - intuitive observations of the natural world which may have meaning to the spectators.
Images adorn our inner life and carry great power there.
But now I rejoice when, in my winter studio, I can spread out my summer studies and recall through them the beautiful season and places which gave them being. Here the painter feels how small things may suggest the greater - the drop of water, image the firmament.
The primary imagination I hold to be the living power and prime agent of all human perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I Am.
The first merit of pictures is the effect they produce on the mind; and the first step of a sensible man should be to receive involuntary impressions from them. Pleasure and inspiration first; analysis, afterward.
If we examine a work of ordinary art, by means of a powerful microscope, all traces of resemblance to nature will disappear - but the closest scrutiny of the photogenic drawing discloses only a more absolute truth, a more perfect identity of aspect with the thing represented.
Imagination is the living power and prime agent of all human perception.
Photographs should celebrate the contingent, the spontaneous, the incomplete, the fortuitous. Direct, unblinking vision should be coupled with deliberate indifference as to subject. The ironic goal is a scrupulous recording of whatever chance brings to hand.
Images are not quite ideas, they are stiller than that, with less implication outside themselves. And they are not myth, they do not have the explanatory power; they are nearer to pure story. Nor are they always metaphors; they do not say this is that, they say this is.
Tall windows show Infinity; And, hard reality, The candles weep and pry and dance Like lives mocked at by Chance. The rooms are vast as Sleep within; When once I ventured in, Chill Silence, like a surging sea, Slowly enveloped me.
My images are unashamedly idyllic and romantic, a kind of enchanted Africa. They're my elegy to a world that is steadily, tragically vanishing.
We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.
The sign of a masterpiece: A painting when there's a lack of resolution.
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.
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.
What we can imagine we can make real
A vivid thought brings the power to paint it; and in proportion to the depth of its source is the force of its projection.
I want to question the images that are in our memory. There is always a double level in my work; what you see is true and at the same time not true.
The highest exercise of imagination is not to devise what has no existence, but rather to perceive what really exists, though unseen by the outward eye-not creation, but insight.
The literature of imaginatiion, even when tragic, is reassuring, not necessarily in the sense of offering nostalgic comfort, but because it offers a world large enough to contain alternatives and therefore offers hope.
All rights reserved. No part of this book may
The whole visible universe is but a storehouse of images and signs to which the imagination will give a relative place and value; it is a sort of pasture which the imagination must digest and transform.
The making of a picture ought surely to be a rather fascinating adventure. It is not; it is an endless contention of tawdry egos, some of them powerful, almost all of them vociferous, and almost none of them capable of anything much more creative than credit-stealing and self-promotion.
There must be room for the imagination to exercise its powers; we must conceive and apprehend a thousand things which we do not actually witness.
Photography's vaunted capture of a moment in time is the seizure and freezing of presence. It is the image of simultaneity, of the way that everything within a given space at a given moment is present to everything else; it is a declaration of the seamless integrity of the real.
After a certain quantity, photos apparently taken by chance, postcards chosen according to a passing mood, begin to trace an itinerary, to map the imaginary country that stretches out before us.
The photograph suggests that our image of reality is made up of images. It makes explicit the domination of mediation.
About the fearful sphere which we inhabit, whose centre may be calculated and whose circumference is physically established, there spin metaphors whose centre is everywhere and whose circumference shows itself only through holes in the dark.
The book depicts thoughts, unveils imaginings, answers unspoken questions, clarifies doubts, resolves arguments, and finally reveals the very atoms of the most curiosity-driven desire.
How does meaning get into the image? Where does it end? And if it ends, what is there beyond?
Every photographed object is merely the trace left behind by the disappearance of all the rest. It is an almost perfect crime, an almost total resolution of the world, which merely leave the illusion of a particular object shining forth, the image of which then becomes an impenetrable enigma.
***A KEY WORD***
Imagined
As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.
A harmonious combination ... enough abstraction that the image is sustained by the eye; enough reality that it is sustained by reason and experience. Share this quote with a friend
thee times their size
Imagination is the eye of the soul
What could be more simple and more complex, more obvious and more profound than a portrait.
Ideas and art are the possibility of an answer tomorrow.
Whenever I am embraced by land and seascape I draw ideas for new sculptures; new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize ... It is essentially practical and passionate.
Each image suggests an inner reality, a kind of scar of the past, a reflection of an act or an event once lived.
Archimedes was my ideal. I admired the works of artists, but to my mind, they were only shadows and semblances. The inventor, I thought, gives to the world creations which are palpable, which live and work.
to an infinite artist, a Creator in love with His craft, there is no unimportant corner, there is no thrown-away image, no tattered thread in the novel left untied.
My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear.
Infinity is present in each part. A loving smile contains all art. The motes of starlight spark and dart. A grain of sand holds power and might.
Only powerfully conceived images have the ability to penetrate the memory, to stay there, in short to become unforgettable.
Imagination, that dost so abstract us That we are not aware, not even when A thousand trumpets sound about our ears!
The child, in love with prints and maps,
Holds the whole world in his vast appetite.
How large the earth is under the lamplight!
But in the eyes of memory, how the world is cramped!
I thought how sadly beauty of inscape was unknown and buried away from simple people and yet how near at hand it was if they had eyes to see it and it could be called out everywhere again.
A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself, shapes it, renders it, loves it so radically that he remakes it in his own image.
A voice may whisper that it was no image, but only imagination; it was a mirage, a fantasy. But as the water settles, with gentle ripples still visible where the arrows went in, the image will return. We will gaze at it once more, and know that in the Lord our labour is not in vain.
Our means of receiving impressions are absurdly few, and our notions of surrounding objects infinitely narrow. We see things only as we are constructed to see them, and can gain no idea of their absolute nature. With five feeble senses we pretend to comprehend the boundlessly complex cosmos.
Images, memories, fragmentary shapes and forms all those sensations, visions, half-thoughts that appear and disappear in the wink of an eye, as one sets forth to meet ... The path also disappears as I think of it, as I say it.
Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.
The more we see the more we must be able to imagine, and the more we imagine, the more we must think we see.
A large picture can give us images of things, but a relatively small one can best re-create the instantaneous unity of nature as a view - the unity of which the eyes take in at a single glance.
Imagination consists in expelling from reality many incomplete persons, making use of the magical and subversive powers of desire, to obtain their return in the form of a completely satisfying presence. This, then, is the inextinguishable, uncreated reality.
Like an impressionist's stroke on a canvas, up-close formed a new image. This image was vibrant and alive. This image was not the woman who
Pictures bring you inside, whether you see yourself driving a new car or as a hapless prisoner who is being abused.
Images have their way of dissolving and then abruptly returning, pulling along the joy and pain attached to them like tin cans rattling from the back of an old-fashioned wedding vehicle.
THE ARTISTIC IMAGE IS ALWAYS A METONYM, WHERE ONE THING IS SUBSTITUTED FOR ANOTHER, THE SMALLER FOR THE GREATER. TO TELL OF WHAT IS LIVING, THE ARTIST USES SOMETHING DEAD; TO SPEAK OF THE INFINITE, HE SHOWS THE FINITE.
a deep smothering emptiness
There is a wonderful feeling when you walk into your own exhibition. You see the work as a true extension of yourself. Win or lose, your interests have led you to an accumulation of your personal expression, signed lower right,
mounted to best advantage.
The other [picture] was a ruined village made up of rubble and cracked houses and trees raked clean of bark. Just looking at it,I could almost hear a lonely wind blowing; the palpable silence of a place robbed suddenly of life.
High as winged imagination's flight is, Nothing it is able to conceive suffices. But minds uncommon, deep, preserved from arrogance, Have in the infinite infinite confidence.
The unspeakable visions of the individual.
I often think of the image only I can see now, and of which I've never spoken. It's always there, in the same silence, amazing. It's the only image of myself I like, the only one in which I recognize myself, in which I delight
Participant Inc. gallery,
My thoughts will be taken up with the future or the past, with what is to come or what has been. Of the present there is necessarily no image.
They are very large in effect, these painters; very little self-conscious; they have smooth broad spaces in their minds where I am all prickles & promontories.
A picture was once a rare sort of symbol, rare enough to call for attentive concentration. Now it is the actual experience that is rare, and the picture has become ubiquitous.
The mind travels more freely on this limitless expanse, the contemplation of which elevates the soul, gives ideas of the infinite, the idea?
With all art expression, when something is seen, it is a vivid experience, sudden, compelling, and inevitable.
I let myself go. I thought little of the houses and trees, but applied colour stripes and spots to the canvas ... Within me sounded the memory of early evening in Moscow - before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.
Give yourself to the images which are, in fact, already there.
The most indisputable beauty may be the one that people cannot ever touch. That God exists up there somehow, in the peaks and remote lakes and the sharp wind.
Who knows why that picture stirs joy. It speaks directly to our impermanence and our smallness.
When the object that is produced, the photographic image has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
I am the first to be surprised and often terrified by the images that I see appear on my canvas.
Each time I undertake to paint a picture I have a sensation of leaping into space. I never know whether I shall fall on my feet. It is only later that I begin to estimate more exactly the the effect of my work.
We do not merely perceive objects and hold thoughts in our minds: all our perceptions and thought processes are felt. All have a distinctive component that announces an unequivocal link between images and the existence of life in our organism.
CHAPTER VII Geometrical Details. - Calculation of the Capacity of the Balloon. - The Double Receptacle. - The Covering. - The Car. - The Mysterious Apparatus. - The Provisions and Stores. - The Final Summing up.
Sometimes, photographs live in our hearts as unborn ghosts and we survive not because their shadows find permanence there, but because that thing that is larger than us, larger than the things we can point to, remember and claim, escorts us from dark into light ...
[The essences of things] are suspended on the invisible dimension whose vibrance has been denied the human eye at all times save in the intuition of ecstasy.
Imagination needs to be fed.
The imagination is the liberty of the mind It is intrpeid and eager and the extreme of its achievement lies in abstraction.
The imagination is an organ of understanding. And the imagination needs all the faculties at hand, all the sensibility, all the conscious and unconscious intelligence it can galvanize to fulfill its luminous mission.
The dissolution of the pictorial into sheer texture, into apparently sheer sensation, into an accumulation of repetitions, seems to speak for and answer something profound in contemporary sensibility.
The snapshot has no pretense or ambition. Innocence is the quintessence of the snapshot. I wish to distinguish between innocence and ignorance. Innocence is one of the highest forms of being and ignorance is one of the lowest.
Perceptions are portraits, not photographs, and their form reveals the artist's hand every bit as much as it reflects the things portrayed
Unlike the marks of a painting, the photo seems to organize its 'opinions' in relation to the world; even when the photographs have clearly been manipulated, the 'opinions' seem to have all the more force, with the suggested 'participation of the world' articulating that 'opinion' as a difference.