Every realistic picture represents a choice as to which features of reality should be given prominence; no painting ever captures the whole.
ALAIN DE BOTTONYet often, they know but just don’t care. So the task of serious journalism isn’t just to lay out truths. It is to make vital truths compelling to a big audience.
More Alain de Botton Quotes
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In the gap between who we wish one day to be and who we are at present, must come pain, anxiety, envy and humiliation.
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We need objects to remind us of the commitments we’ve made. That carpet from Morocco reminds us of the impulsive, freedom-loving side of ourselves we’re in danger of losing touch with. Beautiful furniture gives us something to live up to. All designed objects are propaganda for a way of life.
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Do you love me enough that I may be weak with you? Everyone loves strength, but do you love me for my weakness? That is the real test.
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We are all more intelligent than we are capable, and awareness of the insanity of love has never saved anyone from the disease.
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The most attractive are not those who allow us to kiss them at once [we soon feel ungrateful] or those who never allow us to kiss them [we soon forget them], but those who coyly lead us between the two extremes.
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Unhappiness can stem from having only one perspective to play with.
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You normally have to be bashed about a bit by life to see the point of daffodils, sunsets and uneventful nice days.
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Maturity: knowing where you’re crazy, trying to warn others of the fact and striving to keep yourself under control.
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We should read other people’s books in order to learn what we feel; it is our own thoughts we should be developing, even if it is another writer’s thought that help us to do so.
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The finest proof of our loyalty toward one another was our monstrous disloyalties towards everyone else.
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In their different ways, art and philosophy help us, in Schopenhauer’s words, to turn pain into knowledge.
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We keep a special place in our hearts for people who refuse to be impressed by us.
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It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.
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For paranoia about ‘what other people think’ : remember that only some hate, a very few love – and almost all just don’t care.
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The very act of drawing an object, however badly, swiftly takes the drawer from a woolly sense of what the object looks like to a precise awareness of its component parts and particularities.
ALAIN DE BOTTON