Who made art history? Not the most reasonable people. The mad men did. If painting is the mirror of a time, it must be mad to have a true image of what that time is. To one madness we oppose another madness.
Max ErnstRead
Every normal human being (and not merely the 'artist') has an inexhaustible store of buried images in his subconscious, it is merely a matter of courage or liberating procedures ... of voyages into the unconscious, to bring pure and unadulterated found objects to light.
Interpretation
The subconscious mind holds a wealth of creativity and ideas waiting to be discovered and expressed.
Max Ernst emphasizes that every person, not just artists, possesses a rich reservoir of images and thoughts within their subconscious. However, accessing these deep-seated ideas requires courage and methods to explore the unconscious mind, allowing individuals to express their true selves through art and creativity.
In practice
In a motivational talk about discovering inner creativity, one might say, 'As Max Ernst highlights, we all have hidden treasures in our subconscious waiting to be explored.'
Who made art history? Not the most reasonable people. The mad men did. If painting is the mirror of a time, it must be mad to have a true image of what that time is. To one madness we oppose another madness.
Creativity is that marvelous capacity to grasp mutually distinct realities and draw a spark from their juxtaposition.
Painting is neither decorative amusement, nor the plastic invention of felt reality; it must be every time: invention, discovery, revelation.
When the artist finds himself he is lost. The fact that he has succeeded in never finding himself is regarded by Max Ernst as his only lasting achievement.
Collage is the noble conquest of the irrational, the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them.
Painting is not for me either decorative amusement, or the plastic invention of felt reality; it must be every time: invention, discovery, revelation.
'For Whom the Bell Tolls' was a problem which I carried on each day. I knew what was going to happen in principle. But I invented what happened each day I wrote.
A method of painting is a natural growth out of a need. I want to express my feelings rather than illustrate them. Technique is just a means of arriving at a statement.
These people live again in print as intensely as when their images were captured on old dry plates of sixty years ago... I am walking in their alleys, standing in their rooms and sheds and workshops, looking in and out of their windows. Any they in turn seem to be aware of me.
Trying to write is very much like trying to put a Chinese puzzle together. We have a pattern in mind which we wish to work out in words; but the words will not fit the spaces, or, if they do, they will not match the design.
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art. There is no doubt that the leaders of the creative artists of the last 50 years concentrated their efforts mainly on eliminating that distance.
I loved working when I worked at commercial art and they told you what to do and how to do it and all you had to do was correct it and they'd say yes or no. The hard thing is when you have to dream up the tasteless things to do on your own.
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