
Paris 1923
As quoted by Marius de Zayas, in 'The Arts', New York, May 1923
Quotes, 1920's, "Picasso Speaks," 1923
As quoted in Barry N. Schwartz, The new humanism: art in a time of change, Praeger 1974, p. 179.
Paris 1923
As quoted by Marius de Zayas, in 'The Arts', New York, May 1923
Quotes, 1920's, "Picasso Speaks," 1923
Source: Sculpting in Time (1986), p. 192
Context: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.
"Stairway to Heaven," Thinking in Pictures (1995), p. 202.
Source: Thinking in Pictures: My Life with Autism
Context: Most people don't realize that the slaughter plant is much gentler than nature. Animals in the wild die from starvation, predators, or exposure. If I had a choice, I would rather go through a slaughter system than have my guts ripped out by coyotes or lions while I was still conscious. Unfortunately, most people never observe the natural cycle of birth and death. They do not realize that for one living thing to survive, another living thing must die.
As quoted in "Global citizen", interview in Scouts (July/August 2010), p. 41
Context: My programme, The Art of Creative Expression, empowers young people with tools to express themselves. We teach photography, art and drama, but it's not just the medium that's important, it's about what you are trying to say.
Source: The Life of Poetry (1949), p. 181
Context: The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent.... The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.
“(…) Only courageous people can survive such critical times. (…).”
Courage and alertness
Source: The Teachings of Babaji, 23 September 1983.