In a photo, you just do a click, but in art you have to put in so much energy. This concentration of energy and attention says something that other media cannot say.
Fernando BoteroRead
You paint what you know best; what you went through as a teenager and child. My world is the one I got to know in Medellin; I never paint anything else other than that.
Interpretation
The quote emphasizes that an artist's work is deeply influenced by their personal experiences and background.
Fernando Botero expresses that the essence of art comes from one's own life experiences, particularly those formative years in childhood and adolescence. He highlights that his depiction of the world is rooted in his upbringing in Medellin, and he feels compelled to create art that reflects his unique perspective and lived experiences, suggesting that personal history is the foundation of creativity.
In practice
In a speech about the importance of personal experiences in artistic expression.
In a photo, you just do a click, but in art you have to put in so much energy. This concentration of energy and attention says something that other media cannot say.
Nobody ever told me, 'Art is this.' This was good luck in a way because I would have had to spend half of my life forgetting everything that I had been told, which is what happens with most students in schools of fine arts.
I love my country, and it hurts not to be able to see my country, as I did for so many years. I hope that I will one day be able to live in a peaceful Colombia.
An artist is born like a priest is born. If they are born an artist, I would tell them art is not a game: it is something very serious which completely requires everything you have to give.
I was drawing a mandolin, and I made the sound hole very small, which made the mandolin look gigantic. I saw that making the details small made the form monumental. So in my figures, the eyes, the mouth are all small, and the exterior form is huge.
When you start a painting, it is somewhat outside you. At the conclusion, you seem to move inside the painting.
That's the clarinet I used to use... but it's just a piece of wood, you know, with holes in it and they put these clumsy keys on it and you're supposed to try to take that and manipulate it with throat muscles and chops... and try to make something happen that never happened before. And when you do, you never forget it. It beats sex, it beats anything.
Writing a novel is an incredibly free experience. One puts one's self in a narrative mode. You can go off in any direction - the past, the future, or go laterally, or include one's own beliefs. It's total freedom.
I think if I had been writing fiction, where the work is entirely dependent on the writer's creativity and the potential directions the narrative might take are infinite, I might have frozen
If I were a first rate writer, I wouldn't mind a bit. What does depress me is this: it is so desperately hard and so obsessive and so lonely to write that, in return for all this work, one would like a little self satisfaction. And that is never going to come, for the simple reason that I do not deserve it. I cannot be a good enough writer. You see? I call it grim. But the future looks awfully clear to me.
Every time you write a poem it’s apocalyptic. You’re revealing who you really are to yourself.
Nobody really needs a painting. It's something you kind of create value for in a way that you don't with a company. It's an act of collective faith what an object is worth. Maintaining that value system is part of what a dealer does, not just making a transaction but making sure that important art feels important.
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