David Bowie


 Always remember that the reason that you initially started working was that there was something inside yourself that you felt That if you could manifest it in some way you would understand more about yourself and how coexist with the rest of society I think it’s terrible dangerous for an artist fulfill other people’s expectations. They generally produce their worst work when they do that The other thing I would say is that if you feel safe in area that you’re working in You’re not working in the right area Always go a little further into the water than you feel capable of being in Go a little bit out of your depth And when you don’t feel that your feet are quite touching the bottom You’re just about in the right place to do something exciting

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Erwin Panofsky

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Perspektif, mekânları bir yüzey üzerinde temsil edebilmenin tekniği. Gerçeği canlandırabilmek için icat edilmiş bir yanılsama düzeni. Panofsky’ye göre bir “sembolik form”: “Perspektif bir değer öğesi değil, muhakkak ki bir stil öğesi.”  Perspektif için Erwin Panofsky’ın ‘Perspektif’ kitabını edinebilirsiniz Türkçe baskısı kitapçılarda mevcut. Ben ayrıca ‘Gotik Mimarlık ve Skolastik Felsefe’ baskısını da edindim. 
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David Hockney

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Bir sıçramayı fotoğrafladığınızda, bir ânı dondurursunuz ve o artık başka bir şeye dönüşmüş olur. Gerçek hayatta bir sıçramanın asla bu şekilde görülemeyeceğini biliyorum, çok hızlı bir şekilde olup bitiyor. İşte bu benim çok ilgimi çeken bir durum oldu, bu yüzden çok, çok yavaş bir şekilde boyadım.   David Hockney A Bigger Splash 1967 (detay)
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Twenty Thousand Leagues

 It is marvelous!                                     Jules Verne “It was a vast, four-sided room, thirty feet long, eighteen wide, and fifteen high. A luminous ceiling, decorated with light arabesques, shed a soft clear light over all the marvels accumulated in this museum. For it was in fact a museum, in which an intelligent and prodigal hand had gathered all the treasures of nature and art, with the artistic confusion which distinguishes a painter’s studio. Thirty first-rate pictures, uniformly framed, separated by bright drapery, ornamented the walls, which were hung with tapestry of severe design. I saw works of great value, the greater part of which I had admired in the special collections of Europe, and in the exhibitions of paintings. The several schools of the old masters were represented by a Madonna of Raphael, a Virgin of Leonardo da Vinci, a nymph of Corregio, a woman of Titan, an Adoration of Veronese, an Assumption of Murillo, a portrait of Holbein, a monk of Velasquez,
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