Best Romantic Quotes Biography
Source (Google.com.pk)CASPAR DAVID FRIEDRICH (1774 – 1840) was a painter artist in German Romanticism, famous for his wide landscape painting, at sea or in the high mountains, like in his famous picture ‘The Monk’. Most of Friedrich’s landscapes show a few humble human beings in a wide surrounding, very often seen from their back. Friedrich’s primary interest as an Romantic artist was the contemplation of Nature. Famous paintings of Friedrich are ‘Wanderer, The Monk, Moonrise, Winterreise’ His symbolic art works seek to convey a subjective, emotional response to Nature. Friedrich’s paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that directs “the viewer’s gaze towards their metaphysical dimension” (Christopher John Murray) of Nature.
* At the bottom some art links for biography facts of the Romantic painter Caspar David Friedrich. When you enjoy his quotes and artist story, please share them on Facebook, Google +1 or Twitter; – the editor.
CASPAR DAVID FRIEDRICH
his artist quotes
on landscape-painting
editor:
Fons Heijnsbroek
Caspar David Friedrich: 'Moonrise over the Sea', oil painting, 1822
Caspar David Friedrich: ‘Moonrise’, 1822
CASPAR DAVID FRIEDRICH, quotes & art statements by the artist of German Romanticism, painter of ‘The Monk’
- The artist’s feeling is his law. Genuine feeling can never be contrary to nature; it is always in harmony with her. But another person’s feelings should never be imposed on us as law. Spiritual affinity leads to similarity in work, but such affinity is something entirely different from mimicry. Whatever people may say of Y’s paintings and how they often resemble Z’s, yet they proceed from Y and are his sole property.
* Caspar David Friedrich, source of his artist quote on ‘feeling’ as an essential source for creating Romantic art style: ‘Thoughts on Art’, Caspar David Friedrich, as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 32. (famous painter of German Romanticism art style, creating wide, large romantic landscape paintings; art links for more biography facts and information at the bottom)
- People say of such-and-such a painter that he has great command of his brush. Might it not be more correct to say that he is controlled of his brush? Merely for the satisfaction of his vanity, to paint brilliantly and display skill with the brush, he has sacrificed the nobler considerations of naturalness and truth – and thus achieved sorry fame as a brilliant technician.
* his art quote on the importance of noble considerations of ‘naturalness and truth’ for creating painting art, from: ‘Thoughts on Art’, Caspar David Friedrich, as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 32 .
- In this big moonlit landscape by the painter N.N., that deservedly celebrated technician, one sees more than one would wish, or that can actually be seen by moonlight. But what the perceptive, sensitive soul looks for in every painting, and rightly expects to find, is missing… …If that painter could find it in himself to paint fewer, but more deeply-felt, pictures instead of so many clever ones, his contemporaries and posterity would be more grateful to him.
* source of his artist quote criticizing a very precise and detailed painting artist in his time, to create: more deeply-felt, pictures, from: ‘Thoughts on Art’, Caspar David Friedrich, as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, p. 33.
- People are always talking about “incidentals’’; but nothing is incidental in a picture, everything is indispensable to the whole effect, so nothing must be neglected. If a man can give value to the main part of his composition only by negligent treatment of the subordinate portions, his work is in a bad way. Everything must and can be carefully executed, without the different parts obtruding themselves on the eye. The proper subordination of the parts to the whole is not achieved by neglecting incidental features, but by correct grouping and by the distribution of light and shadow.
* his quote against using ‘incidentals’ in creating pictures in a romantic style: ‘Thoughts on Art’, Caspar David Friedrich, as quoted in ”Letters of the great artists – from Blake to Pollock -”, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 33-34. (famous painter of German Romanticism, creating large romantic landscape painting; at the bottom some art links for more biography facts and information)
Born on November 19, 1961, in Fairfield Connecticut, Margaret Mary Emily Anne Hyra, better known as Meg Ryan, is one of America's favorite actresses, and had been for more than a decade, the 'soul of romantic comedy'. The actress has had her share of success since she started acting in commercials in 1981. The turning point in Meg's career came with 'When Harry Met Sally', which made her an overnight star. Ryan, mother of a son from previous marriage with actor Dennis Quaid, is currently in relationship with the American singer-songwriter, John Mellencamp.
There is something magical in those blue eyes and innocent smile that has melted the hearts of millions. Meg Ryan is famous for her romantic comedies and for over a decade has had a large fan following who have laughed and cried with her. Meg's acting career started in 1981 with commercials and gradually shifted to TV shows. Eventually she entered the films and as the box office saw the entry of When Harry Met Sally in 1989, the world beheld a new star. Never looking since then, Meg Ryan has acted in some of the great romantic comedies, including Sleepless in Seattle and You've got mail.
Meg Ryan has been a part of the multimillion dollar movies, including City of Angels that topped $200 million USD worldwide. The actor and producer has had her share of success in popularity as well as fortune. Today, Meg's net worth is estimated to be around $45 USD, the source of which is largely mainstream movies. This highly established actor has certainly been the centre of attention for a long time and now she is ready to get behind the cameras and direct her debut movie, 'Into the Beautiful'.
Apart from the acting career, Meg Ryan has been involved with a number of charities as well. The actress has been with CARE which is a world known charity to fight against poverty and give financial support to women. The other charities that the actor is involved with included Doctors without Borders, NRDC, The One Campaign and The Adrienne Shelly Foundation, which is formed in the memory of late filmmaker Adrienne Shelly and supports women who desire to enter the profession of film making.
Meg Ryan tied the knot with actor Dennis Quaid on 14 February 1991 and gave birth to a son, Jack Quaid on April 24, 1992. The couple remained married for about a decade until 2000, when Meg became involved with co actor Russell Crowe on the sets of the movie Proof of Life, which was followed by the actor's divorce in 2001. Apart from a son from the former marriage, Meg also adopted Daisy True, a baby girl from China. Recently, the actor is in a relationship with American singer songwriter John Mellencamp.
Convey your desire for his love through words of love like "Your love is something I have always craved for" and "Paint my world with color of your love". Put across the three words of love in various forms with new meanings each time to add up that spice in your love life. Readmore Romantic Love Quotes and Sayings
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"Today I caught myself smiling for no reason... then I realized I was thinking about you."
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"Your voice makes me tremble inside And your smile is an invitation For my imagination to go wild."
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"I love thee - I love thee, 'Tis all that I can say It is my vision in the night, My dreaming in the day."
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"It is only with the heart that one can see rightly; what is essential is invisible to the eye."
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"Love comes when manipulation stops; when you think more about the other person than about his or her reactions to you. When you dare to reveal yourself fully. When you dare to be vulnerable."
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"For it was not into my ear you whispered, but into my heart. It was not my lips you kissed, but my soul." ~ Judy Garland
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"I have been astonished that men could die martyrs for their religion - I have shudder'd at it. I shudder no more. I could be martyr'd for my religion Love is my religion And I could die for that. I could die for you."
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"I knew I loved you when I realized that there was no one else I would rather laugh, cry and make memories with."
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"Meeting you was fate, becoming your friend was a choice, but falling in love with you I had no control over."
Frida Kahlo has become the most universally admired Mexican artist nearly five decades after her death. In the last decade in particular, she has been a great ambassador of Mexican art and culture. The complexity and depth of her human and esthetic dimension have made her a universal symbol. Her paintings sell for millions of dollars at auctions, and her face is an international icon. She gave shape to an esthetic and everyday world in works that combine affection and humor, sadness and sarcasm, the intimate and the collective. Indeed, her creations reveal an artist who deserves to have her own special place in twentieth-century Mexican art.
In the imagination of the world, Frida Kahlo is a succession of self-portraits and portraits. More important than her fame and abounding legends, there is her photogenic and - if we can coin the term - "portrait-genic" quality, and aptitude for always conveying memorable features. Frida is a myth in the sense that she represents to a host of different groups and individuals certain values and deep emotions; and she is the visual and existential consequence of a whole range of stimuli. Although at this point it is impossible to know which came first ( the myth or the person of the same name), one thing is certain: in the complex phenomenon that is Frida Kahlo, the self-portrait is a constant distinguishing element.
Making a portrait of Frida means embarking on a process that seeks to capture in images the spell or singularity of a being who is as fragile as she is powerful. For her part, Frida choose a powerful method of isolation from and relationship with the world: the self-portrait, idealization that is materialization, the reflection that becomes the cruelest of mirages.
Here I, Frida Kahlo, paint myself, the image in the mirror.”
In her pictorial versions of herself, Frida opts for a game of substitution. Allegory is the disappearance of an apparent or literal meaning in favor of another, deeper meaning. In this sense, Frida is the face that is effaced, that makes way for the emblematizing of melancholy, of the woman whose mask is her true face, of the creator who recognizes herself only in the crystalline surface of the canvas, of the woman who is solitary out of necessity and who has been alone so much she must create her double.
As a Baroque poet might have said, when you are no longer what you see, you have become what you have painted. Without resorting to such rhetoric, Frida nonetheless favored allegory as the concrete rendering of an abstract idea. Like all great self-portraitists, she ceases to be an abstraction only when she paints herself; she abandons unreality only when she turns herself into "fabula". Her most powerful and celebrated body of work is also the richest in meaning.
If to the photographic camera Frida radiates her pictorial qualities ("I am a person, taking photos of me comes close to making a painting," could be her message), her self-portraits, guided by a remarkable intuition, overflow with symbols that may or may not be explained and that last like hallucinations. She is severe when she is tender and tender when she is harsh, she painted herself calmly so as not to admit emotions without pretext, and she ridicules herself and the ideas that people have about her. Frida - the Lovely Lady Without Pity, even for herself - records her raison d'etre et de souffrir, her heraldic motto, the strength and center of her frailties: the refusal to distinguish between dream and nightmare, foreboding and suffering. As in few cases, the work is the exorcism evoked by suffering and rage in order to relieve a body that harbors so much malignity; as in few cases, Frida's oeuvre translates inexpressible injury into visions of rebirth. Surviving tragedy is the first principle of resurrection.
As we know, Frida also worked with other themes, producing portraits for friends and on commission, as well as still-lifes, political fantasies, and cosmic panoramas. But her self-portraits are her greatest achievement, the distillation of all her wisdom, love, resentment, and floral and faunal inventions, and the element without which everything else would be forgotten: her great plastic talent. It is that brilliant instinct that reworked the figure of Frida Kahlo, the Mexican, the partner of artist Diego Rivera, the woman eager for diverse amorous experiences, and turned it into an obsessive reference to one of the female creators of the twentieth century who begin as a marginal note and ends up in a central position. It did not take long after her death for her project to become clear. The key to her work is found in the way the author depicts herself to the world.
Her whole discourse in encoded: the parents and grandparents; the nanny who is Earth and Tradition and the assurance of perpetual childhood; the recounting of her operations; the fetus as the family tree cut down by misfortune; and - the axis of life and of her mythology - her obsession with Diego Rivera, which can be seen as emotional dependence and symbolic desire. Diego portrayed on Frida's forehead is not so much the binding together of two being as a public rejection of isolation. The strong link with Diego is moreover the couple's complementation of two extreme: minute Eve and gigantic Adam; inconceivable Romeo and sacrificial Juliet; the man whose vocation is Genesis and the woman already living the Apocalypse.
In the retablos and ex-votos, Frida learns to construct a subverted Eden where the meaning of forms depends on the relationship between innocence and the desire for a reconciled return to childhood. In some of her most portentous canvases - The Broken Column and Without Hope, for example - the destruction of the body and the ingestion of entrails goes against any utopian, romantic, or sentimental vision; in other paintings, the evocation of retablos permits the equivalent of an act of thanks for grace received. In this sense, Viva la vida is an ex-voto without theology but overflowing with mysticism; so, too, is Tree of Hope. In this last works the tradition of ex-votos is magnificently transformed: one Frida, on the edge of a geological fault, holding her corset and a sign on which the lyrics of the song Cielito lindo are tantamount to a proclamation, accompanies the other Frida, who is lying on a stretcher in a fractured landscape, traversed by shadows and shinning celestial bodies. Life goes on, and this explains the religious undertone; but life is also a form of art, and this demands elements that crush optimism without eliminating it completely.
Poliomyelitis, hypertrophic leg, rigid foot and bent, claw like toes, plaster casts, open ulcers, the resolute blood of everyday life ("my blood is the miracle that travels through the veins of the air, from my heart to yours" she tells Diego), orthopedic corsets, a fixation on the graft at the base of her spine, scoliosis, or curvature of the spine, painkiller... This horizon of illness is transferred to the paintings in order to suppress self-delusion and, at the same time, erase the boundary between art and tortured physiology. The strategy is extraordinary: It never guarantees relief (though some relief is gained), but rather it produces paintings detached from the suffering that is never completely neutralized. Here, indeed, is an indication of the artist's timelessness. Despite hundreds of thousands of reproductions and retrospectives in major museums, publications, and films, the essence of Frida Kahlo's paintings cannot be reduced to cause, to "national traits," to admiration for life at once so tragic and marvelous. How can we "assimilate" a painting like My Birth, in which Frida comes into the world at once an adult and stillborn? How can we incorporate this mixture of rejoicing and pain?
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Best Romantic Quotes For Her For Him For Girlfriend And Sayings Tumblr For Him Form The Heart For Her Form The Heart
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Best Romantic Quotes For Her For Him For Girlfriend And Sayings Tumblr For Him Form The Heart For Her Form The Heart
Best Romantic Quotes For Her For Him For Girlfriend And Sayings Tumblr For Him Form The Heart For Her Form The Heart
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