ALONGTIMEALONE

I can never come up with what to say so here are some words that I love from Leonard Cohen:

ring the bells that still can ring
forget your perfect offering
there is a crack in everything
that's how the light gets in

~leonard cohen

flickr.com/photos/mariahoneill
on categorian as mariahon
decisivegestures: Matthew SmithModel à la Rose1924Oil on canvas892 x 638 cm “He seems to be to be one of the very few English painters since Constable and Turner to be concerned with painting, that is, with attempting to make image and technique inseparable. Painting in this sense tends towards a complete interlocking of image and paint, so that the image is the paint and vice versa. Here, the brush-stroke creates the form and does not merely fill it in. Consequently, every movement of the brush on the canvas alters the shapes and implications of the image. That is why real painting is a mysterious and continuous struggle with chance — mysterious because the very substance of the paint, when used in this way, can make such a direct assault upon the nervous system; continuous because the medium is so fluid and subtle that every change that is made loses what is already there in the hope of making a fresh gain. I think that painting today is pure intuition and luck and taking advantage of what happens when you splash the bits down, and in this game of chance Matthew Smith seems to have the gods on his side.” — Francis Bacon (1953) 

decisivegestures:

Matthew Smith
Model à la Rose
1924
Oil on canvas
892 x 638 cm

“He seems to be to be one of the very few English painters since Constable and Turner to be concerned with painting, that is, with attempting to make image and technique inseparable. Painting in this sense tends towards a complete interlocking of image and paint, so that the image is the paint and vice versa. Here, the brush-stroke creates the form and does not merely fill it in. Consequently, every movement of the brush on the canvas alters the shapes and implications of the image. That is why real painting is a mysterious and continuous struggle with chance — mysterious because the very substance of the paint, when used in this way, can make such a direct assault upon the nervous system; continuous because the medium is so fluid and subtle that every change that is made loses what is already there in the hope of making a fresh gain. I think that painting today is pure intuition and luck and taking advantage of what happens when you splash the bits down, and in this game of chance Matthew Smith seems to have the gods on his side.” — Francis Bacon (1953) 

(via thorsteinulf)

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