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Home Art The counterfeit and counterpart of Nature is reproduced in art.

The counterfeit and counterpart of Nature is reproduced in art.

Polly, August 14, 2013

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Tags : Henry Wadsworth Longfellow

Art begins in imitation and ends in innovation.

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Politics is the art of choosing between the disastrous and the unpalatable.

Polly

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Besides the noble art of getting things done, there is the noble art of leaving things undone. The wisdom of life consists in the elimination of non-essentials.

Besides the noble art of getting things done, there is the noble art of leaving things undone. The wisdom of life consists in the elimination of non-essentials.

It’s an honor putting art above politics. Politics can be seductive in terms of things reductive to the soul.

It’s an honor putting art above politics. Politics can be seductive in terms of things reductive to the soul.

Art, as far as it is able, follows nature, as a pupil imitates his master; thus your art must be, as it were, God’s grandchild.

Art, as far as it is able, follows nature, as a pupil imitates his master; thus your art must be, as it were, God’s grandchild.

I like that the art world isn’t regulated.

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I did study the art of being a barber because I wanted to figure out what my routine would be. Do you start in the front or back? Top or bottom? Swivel the chair or walk around? What I did discover is there’s no such thing as the perfect haircut!

I did study the art of being a barber because I wanted to figure out what my routine would be. Do you start in the front or back? Top or bottom? Swivel the chair or walk around? What I did discover is there’s no such thing as the perfect haircut!

I also take pleasure in the so-called negative power in Grotjahn’s work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn’t simply working from a prescribed checklist of academically acceptable, curator-approved ‘isms’ and twists.

I also take pleasure in the so-called negative power in Grotjahn’s work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn’t simply working from a prescribed checklist of academically acceptable, curator-approved ‘isms’ and twists.

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