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The past is the one thing we are not prisoners of. We can do with the past exactly what we wish. What we can’t do is to change its consequences.

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Consequences Exactly Past Prisoner Wish

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

Men look at women. Women watch themselves being looked at.
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In the modern world, in which thousands of people are dying every hour as a consequence of politics, no writing anywhere can begin to be credible unless it is informed by political awareness and principles.
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Anywhere Consequences Every Hour Modern People Political Politics Thousand Writing
Do you know the legend about cicadas? They say they are the souls of poets who cannot keep quiet because, when they were alive, they never wrote the poems they wanted to.
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Painting is something that you need to do, if not every day, then certainly most days. It is almost like being a pianist: if you stop, you lose something.
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Almost Being Certainly Certainty Need Painting Pianist Something
Pleasure and pain need to be considered together; they are inseparable. Yet the space filled by each is perhaps different. Pleasure, defined as a sense of gratification, is essential for nature
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Consider Essential Inseparable Nature Need Pain Pleasure Sense Space Together
By contrast, a woman’s presence… defines what can and cannot be done to her.
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Modern thought has transferred the spectral character of Death to the notion of time itself. Time has become Death triumphant over all.
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Yet the first symbols were animals. What distinguished men from animals was born of their relationship with them.
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All publicity works upon anxiety.
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What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and not by a but.
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No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
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The camera relieves us of the burden of memory.
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Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.
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The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.
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Nothing in the nature around us is evil. This needs to be repeated since one of the human ways of talking oneself into inhuman acts is to cite the supposed cruelty of nature.
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Oil painting did to appearances what capital did to social relations. It reduced everything to the equality of objects.
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