Emmett

“I was also, slowly, to learn that there were painters whom you grew out of (like the Pre-Raphaelites); painters you grew into (Chardin); painters towards whom you had a lifelong, sighing indifference (Greuze); painters you suddenly became aware of after years of unnoticing (Liotard, Hammershoi, Cassatt, Vallotton); painters assuredly great but to whom your response was always a bit negligent (Rubens); and painters who would, whatever age you were, remain persistently, indomitably great (Piero, Rembrandt, Degas). And then – perhaps the slowest advance of all – I permitted myself to believe, or rather see, that not all Modernism was entirely wonderful. That some parts of it were better than others; that maybe Picasso could be vainglorious, Miró and Klee could be twee, Léger could be repetitive, and so on. I eventually came to realise that Modernism had strengths and weaknesses and a built-in obsolescence, just like all other art movements. Which, as it happens, made it more rather than less interesting.”
― Julian Barnes, Keeping an Eye Open: Essays on Art

“My business is to paint what I see, not what I know is there.”
― J.M.W. Turner

“Only remember that cities, too, are like human beings. They are not made of stones and wood, solely. They are of flesh and bone. They bleed when they are hurt.
Every unlawful construction is a nail hammered into the heart of the Instambul. Remember to pity a wounded city the way you pity a wounded person".”
― Elif Shafak, The Architect's Apprentice

“The camera should never anticipate what’s about to follow.”
― François Truffaut, Hitchcock/Truffaut