Quotes & Sayings About Details In Art

In psychoanalysis as in art, God resided in the details, the discovery of which required enormous patience, unyielding seriousness, and the skill of an acrobat - walking a tightrope over memory and speculation, instinct and theory, feeling and denial. — Judith Perelman Rossner

If you want to master the art of the sentence, you must first accept a somewhat unpleasant truth--something a lot of writers would rather deny: The Reader is king. You are his servant. You serve the Reader information. You serve the Reader entertainment. You serve the Reader details of your company's recent merger or details of your experiences in drug rehab. In each case, as a writer you're working for the man (or the woman). Only by knowing your place can you do your job well. — June Casagrande

Nature is a greater and more perfect art, the art of God; though, referred to herself, she is genius; and there is a similarity between her operations and man's art even in the details and trifles. When the overhanging pine drops into the water, by the sun and water, and the wind rubbing it against the shore, its boughs are worn into fantastic shapes, and white and smooth, as if turned in a lathe. Man's art has wisely imitated those forms into which all matter is most inclined to run, as foliage and fruit. — Henry David Thoreau

I think that there's a strong crossover in that Janis, studying the visual arts, was learning how to break it down into details and see how to get the expression that we wanted. And her visual art is emotionally expressive as her singing was. And, I think, when she switched over to singing, she already knew that it was something serious that you broke into pieces so she developed the ability to break it down and learn little riffs that she could throw in here and there. — Laura Joplin

In reading, one should notice and fondle details. There is nothing wrong about the moonshine of generalization when it comes after the sunny trifles of the book have been lovingly collected. If one begins with a readymade generalization, one begins at the wrong end and travels away from the book before one has started to understand it. Nothing is more boring or more unfair to the author than starting to read, say, Madame Bovary, with the preconceived notion that it is a denunciation of the bourgeoisie. We should always remember that the work of art is invariably the creation of a new world, so that the first thing we should do is to study that new world as closely as possible, approaching it as something brand new, having no obvious connection with the worlds we already know. When this new world has been closely studied, then and only then let us examine its links with other worlds, other branches of knowledge. — Vladimir Nabokov

The secret of Greek Art is its imitation of nature even to the minutest details; whereas the secret of Indian Art is to represent the ideal. The energy of the Greek painter is spent in perhaps painting a piece of flesh, and he is so successful that a dog is deluded into taking it to be a real bit of meat and so goes to bite it. Now, what glory is there in merely imitating nature? Why not place an actual bit of flesh before the dog? — Swami Vivekananda

Art's power of persuasion resides in the small personal details of one's own story, and if it weren't for my struggle with dyslexia, I doubt I'd ever have become a writer or known how to teach others to write. — Philip Schultz

In the eighties, I was fortunate to be one of the young art directors that Jerry Roach, creative director at JWT New York, took under his wing. He taught me how to use typography more visually, to push against design norms and not to rely on preconceived notions of what something should look like. I learned that nuance is everything and to agonize over the details. I have Jerry to thank for driving plenty of people crazy over the years! — John Butler

General theories are everywhere condemned; the doctrine of the Rights of Man is dismissed with the doctrine of the Fall of Man. Atheism itself is too theological for us to-day. Revolution itself is too much of a system; liberty itself is too much of a restraint. We will have no generalizations. Mr. Bernard Shaw has put the view in a perfect epigram: 'The golden rule is that there is no golden rule.' We are more and more to discuss details in art, politics, literature. A man's opinion on tramcars matters; his opinion on Botticelli matters; his opinion on all things does not matter. He may turn over and explore a million objects, but he must not find that strange object, the universe; for if he does he will have a religion, and be lost. Everything matters
except everything. — G.K. Chesterton

A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray.
Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present. — Alain De Botton

People want to know those details. They think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist's work and their own ability to experience it. Each painting I do says everything I want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. Frankly, as far as I'm concerned, even titling a work is an unnecessary concession. — Charles De Lint

I opened the door and stepped in. Raw pain filled me at the sight of my painting.
'Show me what it looked like, before the fire.'
His request surprised me, but I did as he asked. With eyes closed, I projected the exact details of the painting I had poured my soul into. Just as I had experienced his love of surfing in a visceral way, he shared not just the visual beauty of my work, but the love and passion with which I had dedicated myself to it.
'Thank you. Now, it will never truly be gone.'
I choked back a sob and went to Mr. K's office. — Kimberly Kinrade

There's an expression, "God is in the details," and it applies to nothing more than it does to the writing of fiction. To that and to the art of telling good lies. And what is fiction but the telling of lies? — Donna Levin

His life had seemed horrible when it was measured by its happiness, but now he seemed to gather strength as he realised that it might be measured by something else. Happiness mattered as little as pain. They came in, both of them, as all the other details of his life came in, to the elaboration of the design. He seemed for an instant to stand above the accidents of his existence, and he felt that they could not affect him again as they had done before. Whatever happened to him now would be one more motive to add to the complexity of the pattern, and when the end approached he would rejoice in its completion. It would be a work of art, and it would be none the less beautiful because he alone knew of its existence, and with his death it would at once cease to be.
Philip was happy. — W. Somerset Maugham

And New York City is details too... It's full of people who have no idea they're really just art to other passersby. There are probably thousands of them who head home feeling worthless, like failures, never fully knowing the impact they made on a complete stranger just by walking out to face the world that day. Never fully knowing they were the beautiful spot in someone else's ordinary day. — Hannah Brencher

I took you out to dinner to warn you of charm. I warned you expressly and in great details of the Flyte family. Charm is the great English blight. It does not exist outside these damp islands. It spots and kills anything it touches. It kills love; it kills art; I greatly fear, Charles, it has killed you. Anthony Blanche to Charles — Evelyn Waugh

The industrialisation of England had quickened during Hardy's life and in the novel he places great importance on rural culture and the need of man to interact with, and understand the natural world, however indifferent it may be to human survival. The author does not sketch a portrait of an idyllic rural scene, but highlights and details the devastating consequences and brute force of the natural world. Hardy uses these disasters to underline the prominence of chance or luck in life, rather than benevolent design by a creator and how this might impact moral decisions. Impressionist art also influences Hardy's perception of reality and what knowledge each individual is capable of attaining in any situation. — Thomas Hardy

Art, in the artist, is proportion, or, a habitual respect to the whole by an eye loving beauty in details. And the wonder and charm of it is the sanity in insanity which it denotes. — Ralph Waldo Emerson

The only things that distinguish the photographer from everybody else are his pictures: they alone are the basis for our special interest in him. If pictures cannot be understood without knowing details of the artist's private life, then that is a reason for faulting them; major art, by definition, can stand independent of its maker. — Robert Adams

There are more valid facts and details in works of art than there are in history books. — Charlie Chaplin

In our fine arts, not imitation, but creation is the aim ... The details, the prose of nature, he should omit, and give us only the spirit and splendour. — Ralph Waldo Emerson

The details are the very source of expression in architecture. But we are caught in a vice between art and the bottom line. — Arthur Erickson

All that is not useful in a picture is detrimental. A work of art must be harmonious in its entirety; for superfluous details would, in the mind of the beholder, encroach upon the essential elements. — Henri Matisse

The contradictory, consuming, contested relationship between detail and whole, event an eventuality, breathes fire and wisdom in every great work of art. — Russell Sherman

The museums of medieval Europe, from Holland to Tuscany, are crammed with instruments and devices upon which the holy men labored devoutly, in order to see how long they could keep someone alive while being roasted. It is not needful to go into further details, but there were also religious books of instruction in this art, and guides for the detection of heresy by pain. — Christopher Hitchens

I should add, in Amy's defense, that she'd asked me twice if I wanted to talk, if I was sure I wanted to do this. I sometimes leave out details like that. It's more convenient for me. In truth, I wanted her to read my mind so I didn't have to stoop to the womanly art of articulation. I was sometimes as guilty of playing the figure-me-out game as Amy was. I've left that bit of information out, too. — Gillian Flynn

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

Art is all in the details. — Christian Marclay

A meal can be thought of as a ritual and a work of art, with limits laid down, desires aroused and fulfilled, enticements, variety, patterning and plot. As in a work of art, not only the overall form, but also the details matter intensely. — Margaret Visser

For me science is not different from art, except in the one small, crucial detail that experiments speak their own truths, not ours. — Nina Fedoroff

Your interviews or blog posts or whatever are less supplements to your novel than part of it. I'm not private, but I believe in literary form - I'll use my life as material for art (I don't know how not to do this) and I'll use art as a way of exploring that passage of life into art and vice versa, but that's not the same thing as thinking that any of the details of my life are interesting or relevant on their own. — Ben Lerner

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 past is gone and the future is still to happen. Only the present moment is real. I believe we all know this very well. As for me, I have been practising the art of being in the here and now for three decades. I have used many techniques aimed at focusing the attention on the present, while releasing attachment to past and future. There are also many courses and workshops on the topic. And I can provide details, if you are interested. Yet, I warn you, learning to be in the present requires lots of hard work, time and money. Yet there is one circumstance when results are immediate, with no effort and also free of charge. This is when both looking ahead or backwards is so painful and horrible, that the only option is looking straight into the present. Hence, if it is the case for you now, rejoice, this may be your greatest chance, and you are in good company! — Franco Santoro

To set out for rehearsals in that quivering quarter-hour is to engage conclusions, not beginnings, for one walks past the guilded hallucinations of poverty with a corrupt resignation touched by details, as if the destitute, in their orange-tinted back yards, under their dusty trees, or climbing into their favelas, were all natural scene designers and poverty were not a condition but an art. Deprivation is made lyrical, and twilight, with the patience of alchemy, almost transmutes despair into virtue. In the tropics nothing is lovelier than the allotments of the poor, no theater is as vivid, voluble, and cheap. — Derek Walcott

Just as when we step into a mosque and its high open dome leads our minds up , up , to greater things , so a great carpet seeks to do the same under the feet .Such a carpet directs us to the magnificence of the infinite , veiled , yet never near , closer than the pulse of jugular , the sunburst that explodes at the center of a carpet signals this boundless radiance . Flowers and trees evoke the pleasures of paradise, and there is always a spot at the center of the carpet that brings calm to the heart. A single white lotus flower floats in a turquoise pool , and in this tiniest of details, there it is : a call to the best within , summoning us to the joy of union .in carpets , I now saw not just intricacies of nature and color , not just mastery of space , but a sign of the infinite design . In each pattern lay the work of a weaver of the world, complete and whole ; and in each knot of daily existence lay mine . — Anita Amirrezvani

I start to grab it so I can it pass it to him. He reaches for it at the same time. Our fingers touch, and the moment they do the fluorescent lights overhead flicker and then fizzle out.
Everyone moans, even though we can all still see. There's enough light from outside filtering in, just not enough for us to really focus on the finer details.
Nick's fingers stroke mine lightly, so lightly that I'm almost not sure the touch is real. My insides flicker like the art room lights. They do not, however, fizzle. I turn my head to look him in the eye.
He leans over and whispers, It will be hard to be just your friend. — Carrie Jones

There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. They try to be honest, but honesty is an art. The poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn't know what to be honest about. He thinks a complicated murder scheme which baffled the lazy reader, who won't be bothered itemizing the details, will also baffle the police, whose business is with details. — Raymond Chandler

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. — Jean-Baptiste-Camille Corot

I am perfectly convinced that whatever the gospels are they are not legends. I have read a great deal of legend and I am quite clear they are not that sort of thing ... Christ bent down and scribbled in the dust with His finger. Nothing comes of this. No one has based any doctrine on it. And the act of inventing little irrelevant details to make an imaginary scene more convincing is purely a modern art. — C.S. Lewis

Thus, on the one hand, Spenser's thought is steeped in sensuous detail, so that for him there is no really abstract thinking; men, he thinks, 'should be satisfied with the use of these days, seeing all things accounted by their showes, and nothing esteemed of, that is not delightfull and pleasing to commune sense' ( Prefatory Letter). But on the other hand the details of the physical universe become translucent from the pulsing light of varied human experience which is seen behind it. His 'haunt and the main region of (his) song' is the inner life of man and it is described in the symbolism of human figures clothed in raiment iridescent with innumerable associations. His art is a development of the mediaeval. — Janet Spens

I knew that my trauma, no matter what it was, was not unique. I knew that pain was the universal driving force of so many people - I knew that only in the details was it specific, and I just found it urgent to cut right to the chase and get right to the point. — Lydia Lunch

Architecture is (in part) "the art of leaving out irrelevant details". Leaving out details, sadly, often derails into religiously ignoring details. The key word, however, is 'irrelevant': as the Chinese proverb says: people stumble over molehills, not over mountains. An architect consciously leaves out details that he or she has decided are irrelevant to the decisions to be made. — Gerben Wierda

Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art ... He declared that he wanted to kill art ("for myself") but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object". — Jasper Johns