It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
American art in general... takes to surreal exaggerations and metaphors; but its Puritan work ethic has little use for the playful self-indulgence behind Parisian Surrealism.
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Without books, we might just melt into the airwaves and be just another set of blips.
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My first ambition was to be an animator for Walt Disney. Then I wanted to be a magazine cartoonist.
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There should always be something gratuitous about art, just as there seems to be, according to the new-wave cosmologists, something gratuitous about the universe.
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My wife and I had children when we were children ourselves.
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I should mention something that nobody ever thinks about, but proofreading takes a lot of time. After you write something, there are these proofs that keep coming, and there's this panicky feeling that 'This is me and I must make it better.'
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I picked up 'On Moral Fiction' in the bookstore and looked up myself in the index, but I didn't read it through. I try not to read things that depress me.
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I was raised in the Depression, when there was a great sense of dog-eat-dog and people fighting over scraps.
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I seem to have this need to belong to some church. I get worried on Sunday mornings.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.