Art Which I Can Describe Quotes & Sayings

Latin American Art is an operational term used to describe art actually made in the more than twenty countries that make up Latin America and that encompass Mexico, Central and South America, and the Caribbean. — Mari Carmen Ramirez

I like to describe Himalayan climbing as a kind of art of suffering. Just pushing, pushing yourself to your limits. — Wojciech Kurtyka

A lot of times your best sales rep, that A++ player, kills it on a regular basis ... but can never describe how they do it. They look at sales as an art, not a science. — Jim McDonough

El duende is literally the goblin wind or force behind a person's actions and creative life, including the way they walk, the sound of their voice, even the way they lift their little finger. It is a term used in flamenco dance, and is also used to describe the ability to "think" in poetic images. Among Latina curanderas who recollect story, it is understood as the ability to be filled with spirit that is more than one's own spirit. Whether one is the artist or whether one is the watcher, listener, or reader, when el duende is present, one sees it, hears it, reads it, feels it underneath the dance, the music, the words, the art; one knows it is there. When el duende is not present, one knows that too. — Clarissa Pinkola Estes

They have difficulty when being observed (at work, say, or performing at a music recital) or judged for general worthiness (dating, job interviews). But there were also new insights. The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive (just as Aron's husband had described her). They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions - sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments - both physical and emotional - unusually deeply. They tend to notice subtleties that others miss - another — Susan Cain

In eloquence, the great triumphs of the art are when the orator is lifted above himself; when consciously he makes himself the mere tongue of the occasion and the hour, and says what cannot but be said. Hence the term "abandonment" to describe the self- surrender of the orator. Not his will, but the principle on which he is horsed, the great connection and crisis of events, thunder in the ear of the crowd. — Ralph Waldo Emerson

My art teacher in junior high was a very out gay man and a mentor to me. He would tell us about Greenwich Village and show us the 'Village Voice' and describe his life, but it was all sort of subversive and below the radar. — Gus Van Sant

We have a language that reflects how we learn to paint, but not how we learn to paint our paintings. How do you describe the [reader to place words here] that changes when craft swells into art? — David Bayles

Every brilliant experiment, like every great work of art, starts with an act of imagination. Unfortunately, our current culture subscribes to a very narrow definition of truth. If something can't be quantified and calculated, then it can't be true. Because this strict scientific approach has explained so much, we assume that it can explain everything. But every method, even the experimental method, has limits. Take the human mind. Scientists describe our brain in terms of its physical details; they say we are nothing but a loom of electrical cells and synaptic spaces. What science forgets is that this isn't how we experience the world. (We feel like the ghost, not like the machine.) It is ironic but true: the one reality science cannot reduce is the only reality we will ever know. This is why we need art. By expressing our actual experience, the artist reminds us that our science is incomplete, that no map of matter will ever explain the immateriality of our consciousness. — Jonah Lehrer

The power of painter or poet to describe what he calls an ideal thing depends upon its being to him not an ideal but a real thing. No man ever did or ever will work well but either from actual sight or sight of faith. — John Ruskin

I think there is a song out there to describe just about any situation. — Criss Jami

Archibald MacLeish affirmed that 'A poem should be equal to / not true'. As a defiant statement of poetry's gift for telling truth but telling it slant, this is both cogent and corrective. Yet there are times when a deeper need enters, when we want the poem to be not only pleasurably right but compellingly wise, not only a surprising variation played upon the world, but a retuning of the world itself. We want the surprise to be transitive, like the impatient thump which unexpectedly restores the picture to the television set, or the electric shock which sets the fibrillating heart back to its proper rhythm. We want what the woman wanted in the prison queue in Leningrad, standing there blue with cold and whispering for fear, enduring the terror of Stalin's regime and asking the poet Anna Akhmatova if she could describe it all, if her art could be equal to it. — Seamus Heaney

I watched the surrounding landscape with great curiosity, and I wanted to discover the words that could describe all its unspoiled beauty. — Daniel J. Rice

For me, art in our time is strongest when it is aware of science, includes science, is inspired by science, or is about science. On the linguistic level, the new words coined by scientists to describe their new discoveries form a giant growing lexicon that means English is simply bursting with new possibilities, resembling the Elizabethan age in that respect. Then conceptually, science is creating new stories to tell, by deluging us with new information and potentialities. In this deluge we need art to do its usual job of sorting things out, by giving things their human dimension and by exploring how they might feel and what they might mean. So to me the arts and the sciences are completely intertwined. Maybe that's always been true, but now more than ever. — Kim Stanley Robinson

My art is representational by choice ... if the art of painting is to survive, it must describe and express people, their lives and times. It must communicate. — Rainer Maria Rilke

The shock of recognition is a moment of excitement that shakes the soul. It may be hard to describe, but like other forms of love, you will know it when you feel it. — Stephen Koch

Women have always been healers. Cultural myths from around the world describe a time when only women knew the secrets of life and death, and therefore they alone could practice the magical art of healing ... The emergence of women whose consciousness blends with the ancient themes of healing is the single most promising event in health care ... — Jeanne Achterberg

If words were adequate to describe fully what the dance can do, there would be no reason for all the mighty muscular effort, the discomfort, the sweat and the splendors of that art. — Jose Limon

It would be possible to describe everything scientifically, but it would make no sense; it would be without meaning, as if you described a Beethoven symphony as a variation of wave pressure. — Albert Einstein

Dance is an ephemeral, a fleeting art. To describe this momentum, every movement on stage, in words is virtually impossible. — Mikhail Baryshnikov

A great friendship was like a great work of art, he thought. It took time and attention, and a spark of something that was impossible to describe. It was a happy, lucky accident, finding some kindred part of yourself in a total stranger. pg. 287 — Elise Broach

I suspect that the word (art) was invented by second-rate intelligences to describe the incomprehensible activities of their betters. — Jack Vance

What I'm trying to describe is that it's impossible to get out of your skin into somebody else's ... That somebody else's tragedy is not the same as your own. — Diane Arbus

I thank God that you know the art of tearing yourself apart - I mean the way to humble yourself truly by recognizing and realizing your faults. You are right in believing yourself to be as you describe and to be most unsuitable for any kind of duty; it is on this foundation that Our Lord will base the execution of His plans for you. — Vincent De Paul

And still, still, there is more to describe-
we paint because drawing breath is an agony
and exhaling an ecstasy
and somewhere in the space in-between
we think we once found a truth;
and the eternal part of us desires
to share this truth at all costs
only it's never quite how we pictured it,
and it's never quite received the way we want
and the paint drips with our own blood
the handles of our brushes are our own bones
our own tears become the words to our most beautiful love songs
and we know we'll never get it right before we die-

getting up every morning and facing our own limited truth
is a courage so divine
most men quell and women stay enslaved in silence. — Marie Anzalone

Stories are not just entertainment, not to me. A story records and transmits the experience of being human. It teaches us what it's like to be who we are. Nothing but art can do this. There is no science that can capture the inner life. No words can describe it directly. We can only speak of it in metaphors. We can only say: it's like this - this story, this picture, this song. — Andrew Klavan

One famous Japanese haiku illustrates the state that Sid managed to discover in himself. It is one that Joseph Goldstein has long used to describe the unique attentional posture of bare attention: The old pond. A frog jumps in. Plop!2 Like so much else in Japanese art, the poem expresses the Buddhist emphasis on naked attention to the often overlooked details of everyday life. Yet, there is another level at which the poem may be read. Just as in the parable of the raft, the waters of the pond can represent the mind and the emotions. The frog jumping in becomes a thought or feeling arising in the mind or body, while "Plop!" represents the reverberations of that thought or feeling, unelaborated by the forces of reactivity. The entire poem comes to evoke the state of bare attention in its utter simplicity. — Mark Epstein

The most powerful part of the art is experiential, yet it's the hardest to describe because it's nonverbal. — Janet Echelman

Ruskin's interest in beauty and in its possession led him to five central conclusions. First, beauty was the result of a number of complex factors that affected the mind both psychologically and visually. Second, humans had an innate tendency to respond to beauty and to desire to possess it. Third, there were many lower expressions of this desire for possession (including, as we have seen, buying souvenirs and carpets, carving one's name on a pillar and taking photographs). Fourth, there was only one way to possess beauty properly, and that was by understanding it, by making oneself conscious of the factors (psychological and visual) responsible for it. And last, the most effective means of pursuing this conscious understanding was by attempting to describe beautiful places through art, by writing about or drawing them, irrespective of whether one happened to have any talent for doing so. — Alain De Botton

When pressed to tell people how I got myself into my current nepotism-gone-bad situation, I like to describe it as a mini-breakdown. The prefix makes all the difference. It makes it sound more like a vacation than a condition best treated with medication and art therapy. — Jill A. Davis