Anything that is not necessary to the painting damages it.” Henri Matisse – Volkmar Essers

Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso — who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo’s major tributaries. It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism. The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa’s artists a freedom those in Europe had not yet discovered. – Adam Hochschild

Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso — who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo’s major tributaries.

It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.

The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa’s artists a freedom those in Europe had not yet discovered. – Adam Hochschild

Artistic symbols and myths speak out of the primordial, preconscious realm of the mind which is powerful and chaotic. Both symbol and myth are ways of bringing order and form into this chaos. – Rollo May

Artistic symbols and myths speak out of the primordial, preconscious realm of the mind which is powerful and chaotic. Both symbol and myth are ways of bringing order and form into this chaos. – Rollo May

When there is no freedom, there is no creativity. – Soud Qbeilat

Like the most of you, I was raised among people who knew – who were certain. They did not reason or investigate. They had no doubts. They knew that they had the truth. In their creed there was no guess — no perhaps. They had a revelation from God. They knew the beginning of things. They knew that God commenced to create one Monday morning, four thousand and four years before Christ. They knew that in the eternity — back of that morning, he had done nothing. They knew that it took him six days to make the earth — all plants, all animals, all life, and all the globes that wheel in space. They knew exactly what he did each day and when he rested. They knew the origin, the cause of evil, of all crime, of all disease and death. At the same time they knew that God created man in his own image and was perfectly satisfied with his work… They knew all about the Flood — knew that God, with the exception of eight, drowned all his children — the old and young — the bowed patriarch and the dimpled babe — the young man and the merry maiden — the loving mother and the laughing child — because his mercy endureth forever. They knew too, that he drowned the beasts and birds — everything that walked or crawled or flew — because his loving kindness is over all his works. They knew that God, for the purpose of civilizing his children, had devoured some with earthquakes, destroyed some with storms of fire, killed some with his lightnings, millions with famine, with pestilence, and sacrificed countless thousands upon the fields of war. They knew that it was necessary to believe these things and to love God. They knew that there could be no salvation except by faith, and through the atoning blood of Jesus Christ. Then I asked myself the question: Is there a supernatural power — an arbitrary mind — an enthroned God — a supreme will that sways the tides and currents of the world — to which all causes bow? I do not deny. I do not know – but I do not believe. I believe that the natural is supreme – that from the infinite chain no link can be lost or broken — that there is no supernatural power that can answer prayer – no power that worship can persuade or change — no power that cares for man. Is there a God? I do not know. Is man immortal? I do not know. One thing I do know, and that is, that neither hope, nor fear, belief, nor denial, can change the fact. It is as it is, and it will be as it must be. We can be as honest as we are ignorant. If we are, when asked what is beyond the horizon of the known, we must say that we do not know. We can tell the truth, and we can enjoy the blessed freedom that the brave have won. We can destroy the monsters of superstition, the hissing snakes of ignorance and fear. We can drive from our minds the frightful things that tear and wound with beak and fang. We can civilize our fellow-men. We can fill our lives with generous deeds, with loving words, with art and song, and all the ecstasies of love. We can flood our years with sunshine — with the divine climate of kindness, and we can drain to the last drop the golden cup of joy. – Robert G. Ingersoll

Like the most of you, I was raised among people who knew – who were certain. They did not reason or investigate. They had no doubts. They knew that they had the truth. In their creed there was no guess — no perhaps. They had a revelation from God. They knew the beginning of things. They knew that God commenced to create one Monday morning, four thousand and four years before Christ. They knew that in the eternity — back of that morning, he had done nothing. They knew that it took him six days to make the earth — all plants, all animals, all life, and all the globes that wheel in space. They knew exactly what he did each day and when he rested. They knew the origin, the cause of evil, of all crime, of all disease and death.

At the same time they knew that God created man in his own image and was perfectly satisfied with his work… They knew all about the Flood — knew that God, with the exception of eight, drowned all his children — the old and young — the bowed patriarch and the dimpled babe — the young man and the merry maiden — the loving mother and the laughing child — because his mercy endureth forever. They knew too, that he drowned the beasts and birds — everything that walked or crawled or flew — because his loving kindness is over all his works. They knew that God, for the purpose of civilizing his children, had devoured some with earthquakes, destroyed some with storms of fire, killed some with his lightnings, millions with famine, with pestilence, and sacrificed countless thousands upon the fields of war. They knew that it was necessary to believe these things and to love God. They knew that there could be no salvation except by faith, and through the atoning blood of Jesus Christ.

Then I asked myself the question: Is there a supernatural power — an arbitrary mind — an enthroned God — a supreme will that sways the tides and currents of the world — to which all causes bow?

I do not deny. I do not know – but I do not believe. I believe that the natural is supreme – that from the infinite chain no link can be lost or broken — that there is no supernatural power that can answer prayer – no power that worship can persuade or change — no power that cares for man.

Is there a God?

I do not know.

Is man immortal?

I do not know.

One thing I do know, and that is, that neither hope, nor fear, belief, nor denial, can change the fact. It is as it is, and it will be as it must be.

We can be as honest as we are ignorant. If we are, when asked what is beyond the horizon of the known, we must say that we do not know. We can tell the truth, and we can enjoy the blessed freedom that the brave have won. We can destroy the monsters of superstition, the hissing snakes of ignorance and fear. We can drive from our minds the frightful things that tear and wound with beak and fang. We can civilize our fellow-men. We can fill our lives with generous deeds, with loving words, with art and song, and all the ecstasies of love. We can flood our years with sunshine — with the divine climate of kindness, and we can drain to the last drop the golden cup of joy. – Robert G. Ingersoll

If you don’t want a generation of robots, fund the arts! – Cath Crowley

I make art for one person and one person only. And as soon as I find that one person, I sure hope he has a lot of wall space, because he’ll be getting a lot of art from me. – Jarod Kintz

A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth. – Richard Avedon

A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth. – Richard Avedon

Artists who seek perfection in everything are those who cannot attain it in anything. – Eugène Delacroix

…I do not want art for a few; any more than education for a few; or freedom for a few… – William Morris

It was odd to have something so personal out there in that way, but the good thing about art is that no one necessarily knows what you mean by it anyway. – Gabrielle Zevin

Friendship is an obstetric art; it draws out our richest and deepest resources; it unfolds the wings of our dreams and hidden indeterminate thoughts; it serves as a check on our judgements, tries out our new ideas, keeps up our ardor, and inflames our enthusiasm. – Antonin Sertillanges

Friendship is an obstetric art; it draws out our richest and deepest resources; it unfolds the wings of our dreams and hidden indeterminate thoughts; it serves as a check on our judgements, tries out our new ideas, keeps up our ardor, and inflames our enthusiasm. – Antonin Sertillanges