Catherine Deneuve (Catherine Fabienne Dorléac) Quotes
I would have liked maybe to be in architecture or painting, something connected to the fine arts.
Quotes to Explore
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Spiritual space is lost in gaining convenience. I saw the need to create a mixture of Japanese spiritual culture and modern western architecture.
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A painting in a museum hears more ridiculous opinions than anything else in the world.
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Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don't fall into the trap of thinking that what you do is abstract.
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Life is painting a picture, not doing a sum.
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The terrifying and edible beauty of Art Nouveau architecture.
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If architecture is frozen music then music must be liquid architecture.
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Envision what the end result is supposed to be... what do you want to be when you grow up? Where do you see yourself? Once we identify what the painting on the wall is, it is so much easier to bring in the right colors, canvas and brushes to paint that picture.
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I wrote as a kid, but I never wanted to be a writer, particularly. I had been drawing and painting for years and loved that.
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As a child, my father's architecture seemed to me to be industrial in a way. It seemed harsh and kind of chilly; I didn't respond to it.
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My painting does not come from the easel.
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Washington, D.C., has everything that Rome, Paris and London have in the way of great architecture - great power bases. Washington has obelisks and pyramids and underground tunnels and great art and a whole shadow world that we really don't see.
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'T.V. has made going to the theatre seem pointless, photography has pretty much killed painting but graffiti has remained gloriously unspoilt by progress.'
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RADIO – DADA DIX whose monumental painting 'Barricade' now lost created such a sensation in Dresden
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Cézanne's painting is strictly painting, and its value is immense; but Van Gogh's painting has the Outsider's characteristic: it is a laboratory refuse of a man who treated his own life as an experiment in living; it faithfully records moods and developments of vision on the manner of a Bildungsroman.
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A large vocabulary is like an artist having a big palette of colors. We don't have to use all the colors in a single painting, but it helps to be able to find just the right shade when we need it.
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The thing I love about Rome is that is has so many layers. In it, you can follow anything that interests you: town planning, architecture, churches or culture. It's a city rich in antiquity and early Christian treasures, and just endlessly fascinating. There's nowhere else like it.
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I don't get my inspiration from books or a painting. I get it from the women I meet.
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Certainly one of the surprising truths of having a book published is realizing that your book is as open to interpretation as an abstract painting. People bring their own beliefs and attitudes to your work, which is thrilling and surprising at the same time.
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I've had young women come to me and say that before they watched 'Voyager' it didn't really occur to them that they could be successful in a higher position in the field of science; girls going to MIT, girls pursuing astrophysics with a view to a career in NASA.
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The most important connection I can see between my faith and my work is that in the progress of my day, I try to be restrained and mindful of every person's humanity and of the overwhelming challenge of pride.
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The future will be gorgeous and reckless, and words, those luminous charms, will set us free again.
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I love crazy, gaudy bling.
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So much of our fictional medievalism is distorted through a lens of Protestantism and the Reformation, slanted even further through Victorian anti-Catholicism. The depiction of actual medieval attitudes toward the Church is remarkably rare.
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I would have liked maybe to be in architecture or painting, something connected to the fine arts.
