I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.
Virginia WoolfRead
I spent an hour looking at pots and carpets in the museums the other day, until the desire to describe them became like the desire for the lusts of the flesh.
Interpretation
The quote reflects on the deep connection and desire for artistic expression, likening it to physical desires.
Virginia Woolf's quote expresses the profound impact that art can have on the observer, suggesting that the urge to describe and engage with art can be as intense and consuming as physical desires. This highlights the power of creativity and the emotional connection we can have with artistic works, elevating their significance in our lives.
In practice
In an art class, when discussing the emotional response to artwork.
I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.
Death is woven in with the violets,β said Louis. βDeath and again death.β)
He began to search among the infinite series of impressions which time had laid down, leaf upon leaf, fold upon fold softly, incessantly upon his brain; among scents, sounds; voices, harsh, hollow, sweet; and lights passing, and brooms tapping; and the wash and hush of the sea.
I want to think quietly, calmly, spaciously, never to be interrupted, never to have to rise from my chair, to slip easily from one thing to another, without any sense of hostility, or obstacle. I want to sink deeper and deeper, away from the surface, with its hard separate facts.
I do think all good and evil comes from words. I have to tune myself into a good temper with something musical, and I run to a book as a child to its mother.
London perpetually attracts, stimulates, gives me a play and a story and a poem, without any trouble, save that of moving my legs through the streets... To walk alone through London is the greatest rest.
Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.
Say what you mean. Say what you see. Make a photograph, if you can, for the reader.
The worst tragedy for a poet is to be admired through being misunderstood.
The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
In the late '70s I started to search for the perfect sound - whatever that might be, before that I was mainly interested in drugs, insanity and the rock'n'roll lifestyle.
I have designed my style pantomimes as white ink drawings on black backgrounds, so that man's destiny appears as a thread lost in an endless labyrinth. I have tried to shed some gleams of light on the shadow of man startled by his anguish.
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