Quotes & Sayings About Contrast In Art

Compare the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown. — John Berger

The very large brain that humans have, plus the things that go along with it - language, art, science - seemed to have evolved only once. The eye, by contrast, independently evolved 40 times. So, if you were to 'replay' evolution, the eye would almost certainly appear again, whereas the big brain probably wouldn't. — Richard Dawkins

No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. — T. S. Eliot

In contrast to the asexual chasteness of official communist art , Nazi art is both prurient and idealizing. A utopian aesthetics (physical perfection; identity as a biological given) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a "spiritual" force, for the benefit of the community. — Susan Sontag

What is the difference between "creator" and "craftsman"? The one who creates bestows being itself, he brings something out of nothing - ex nihilo sui et subiecti, as the Latin puts it - and this, in the strict sense, is a mode of operation which belongs to the Almighty alone. The craftsman, by contrast, uses something that already exists, to which he gives form and meaning. — Pope John Paul II

With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art. — Conrad Hall

All my life I have refused to be for or against parties, for or against nations, for or against people. I never seek novelty or the eccentric; I do not go from land to land to contrast civilizations. I seek only, wherever I go, for symbols of greatness, and as I have already said, they may be found in the eyes of a child, in the movement of a gladiator, in the heart of a gypsy, in twilight in Ireland or in moonrise over the deserts. To hold the spirit of greatness is in my mind what the world was created for. The human body is beautiful as this spirit shines through, and art is great as it translates and embodies this spirit. — Robert Henri

The brilliance of morning is in sharp contrast with the darkness of night - Woman thou art loosed — T.D. Jakes

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day ...
To me, it's all art, inside the studio and out. At least it is if we approach our lives that way. — Terri Windling

Yet again, the more you strive for some kind of perfection or mastery - in
morals, in art or in spirituality - the more you see that you are playing a
rarified and lofty form of the old ego-game, and that your attainment of
any height is apparent to yourself and to others only by contrast with
someone else's depth or failure. — Alan W. Watts

If we're stuck on one world, we're limited to a single case; we don't know what else is possible. Then - like an art fancier familiar only with Fayoum tomb paintings, a dentist who knows only molars, a philosopher trained merely in NeoPlatonism, a linguist who has studied only Chinese, or a physicist whose knowledge of gravity is restricted to falling bodies on Earth - our perspective is foreshortened, our insights narrow, our predictive abilities circumscribed. By contrast, when we explore other worlds, what once seemed the only way a planet could be turns out to be somewhere in the middle range of a vast spectrum of possibilities. When we look at those other worlds, we begin to understand what happens when we have too much of one thing or too little of another. We learn how a planet can go wrong. — Carl Sagan

In Spain, hilly terrain and antiquated planting and harvest practices keep farmers from retrieving more than about 100 pounds [of almonds] per acre. Growers in the Central Valley, by contrast can expect up to 3000 pounds an acre. But for all their sophisticated strategies to increase yield and profitability, almond growers still have one major problem - pollination. Unless a bird or insect brings the pollen from flower to flower, even the most state-of-the-art orchard won't grow enough nuts. An almond grower who depends on wind and a few volunteer pollinators in this desert of cultivation can expect only 40 pounds of almonds per acre. If he imports honey bees, the average yield is 2,400 pounds per acre, as much as 3,000 in more densely planted orchards. To build an almond, it takes a bee. — Hannah Nordhaus

The good moral work of art should have all the qualities that a good amoral work of art should have, such as formal unity, balance, contrast, and a sensitivity to the material out of which it is made. — Norman McLaren

In contrast to modern art, which causes displeasure-modern art, by definition, hurts. In this precise sense, modern art is sublime: it causes pleasure-in-pain, it produces its effect through its own failure, insofar as it refers to the impossible Things. — Slavoj Zizek

A student researching into my work has actually traced the newspapers and magazines where I found theses images and has found out that many of them illustrate a collection of gruesome stories, murders and suicides which contrast with the images used. There is a contrast between the message carried by the text and that suppressed by the illustration. — Gerhard Richter

Art is a process of concentration. It is both the distilled essence and the commentary upon otherwise mundane activities and reflections. Musical notes must be charged, must gather more than one and the surface meaning, must reveal audible and "inaudible" connections to other notes, patterns, and meaning, either by way of affinity or contrast. — Russell Sherman

My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way ... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it. — Roy Lichtenstein

We will simply say here that, as a means of contrast with the sublime, the grotesque is, in our view, the richest source that nature can offer art. Rubens so understood it, doubtless, when it pleased him to introduce the hideous features of a court dwarf amid his exhibitions of royal magnificence, coronations and splendid ceremonial.
The universal beauty which the ancients solemnly laid upon everything, is not without monotony; the same impression repeated again and again may prove fatiguing at last. Sublime upon sublime scarcely presents a contrast, and we need a little rest from everything, even the beautiful.
On the other hand, the grotesque seems to be a halting-place, a mean term, a starting-point whence one rises toward the beautiful with a fresher and keener perception. The salamander gives relief to the water-sprite; the gnome heightens the charm of the sylph. — Victor Hugo

I was filming a movie in London, and I drove through Ireland. It was quite beautiful, and the countryside was really remarkable. The contrast between the countryside and Ireland, and the murals there, with Northern Ireland still being a part of the United Kingdom, there's just a stark contrast in those two things. And I found that the art that came out of the conflict was really spectacular because it was about remembering either events or points of view for local neighborhoods, or the rallying cries of one side against the other. — Vince Vaughn

Ancient philosophy proposed to mankind an art of living. By contrast, modern philosophy appears above all as the construction of a technical jargon reserved for specialists. — Pierre Hadot

On the surface the avant garde as a whole seems united primarily in terms of what they are against: the rejection of social institutions and established artistic conventions, or antagonism towards the public (as representative of the existing order). By contrast any positive programme tends to be claimed as exclusive property by isolated and even mutually antagonistic sub-groups. So modern art appears fragmented and sectarian, defined as much by manifestos as imaginative work. — C. D. Innes

Where philosophy ends, poetry must commence. There should not be a common point of view, a natural manner of thinking which standsin contrast to art and liberal education, or mere living; that is, one should not conceive of a realm of crudeness beyond the boundaries of education. Every conscious link of an organism should not perceive its limits without a feeling for its unity in relation to the whole. For example, philosophy should not only be contrasted to non-philosophy, but also to poetry. — Karl Wilhelm Friedrich Schlegel

Those who like to interpret historical facts symbolically may recognize in this the spirit of a specifically "modern" conception of the world which permits the subject to assert itself against the object as something independent and equal; whereas classical antiquity did not as yet permit the explicit formulation of this contrast; and whereas the Middle Ages believed the subject as well as the object to be submerged in a higher unity. — Erwin Panofsky

High-class kitsch may well be "perfect" in its form and and composition: the academic painters were often masters of their craft. Thus, the accusation that a work of kitsch is based not on lack of for or aesthetic merit but on the presence of a particularly provocative emotional content. (The best art, by contrast, eschews emotional content altogether.) — Robert C. Solomon

But in Christianity, by contrast, the freedom of the children of God was also freedom from all important worldly interests, from all art and science, etc. — Bruno Bauer

He found himself weeping.
Not for the future or for the emperor. These were the tears of a man who saw before himself a masterpiece. True art was more than beauty; it was more than technique. It was not just imitation.
It was boldness, it was contrast, it was subtlety. — Brandon Sanderson

The earliest evidence of recognizable human art is forty thousand years old. The earliest evidence of human agriculture, by contrast, is only ten thousand years old. Which means that somewhere in our collective evolutionary story, we decided it was way more important to make attractive, superfluous items than it was to learn how to regularly feed ourselves. — Elizabeth Gilbert

There is nothing more fruitful in wonders than the art of being free; but there is nothing harder than apprenticeship in liberty. It is not the same with despotism. Despotism often presents itself as the repairer of all the misfortunes suffered; it is the support of legitimate rights, the upholder of the oppressed, and the founder of order. Peoples fall asleep amid the temporary prosperity that it brings forth; and when they awaken, they are miserable. Liberty, in contrast, is usually born amid storms; it is established painfully in the midst of civil discord, and only when it is already old can its benefits be known. — Alexis De Tocqueville

Science has this in common with art, that the most ordinary, everyday thing appears to it as something entirely new and attractive, as if metamorphosed by witchcraft and now seen for the first time. Life is worth living, says art, the beautiful temptress; life is worth knowing, says science. With this contrast the so heartrending and dogmatic tradition follows — Friedrich Nietzsche

Pardis Sabeti thought small by focusing patiently for years on a narrow niche (the genetics of diseases in Africa), but then acting big once she acquired enough capital to identify a mission (using computational genetics to help understand and fight ancient diseases). Sarah and Jane, by contrast, reversed this order. They started by thinking big, looking for a world-changing mission, but without capital they could only match this big thinking with small, ineffectual acts. The art of mission, we can conclude, asks us to suppress the most grandiose of our work instincts and instead adopt the patience - the style of patience observed with Pardis Sabeti - required to get this ordering correct. — Cal Newport

Human perfection and technical perfection are incompatible. If we strive for one, we must sacrifice the other: there is, in any case, a parting of the ways. Whoever realises this will do cleaner work one way or the other.
Technical perfection strives towards the calculable, human perfection towards the incalculable. Perfect mechanisms - around which, therefore, stands an uncanny but fascinating halo of brilliance - evoke both fear and Titanic pride which will be humbled not by insight but only by catastrophe.
The fear and enthusiasm we experience at the sight of perfect mechanisms are in exact contrast to the happiness we feel at the sight of a perfect work of art. We sense an attack on our integrity, on our wholeness. That arms and legs are lost or harmed is not yet the greatest danger. — Ernst Junger