Nevertheless if any skillful Servant of Nature shall bring force to bear on matter, and shall vex it and drive it to extremities as if with the purpose of reducing it to nothing, then will matter (since annihilation or true destruction is not possible except by the omnipotence of God) finding itself in these straits, turn and transform itself into strange shapes, passing from one change to another till it has gone through the whole circle and finished the period.
As you work, the mood grows on you. There are certain images which suddenly get hold of me and I really want to do them. But it's true to say that the excitement and possibilities are in the working and obviously can only come in the working.
I think I tend to destroy the better paintings, or those that have been better to a certain extent. I try and take them further, and they lose all their qualities, and they lose everything. I think I would say that I destroy all the better paintings.
All superstition is much the same whether it be that of astrology, dreams, omen, retributive judgment, or the like, in all of which the deluded believers observe events which are fulfilled, but neglect and pass over their failure, though it be much more common.
The study of nature with a view to works is engaged in by the mechanic, the mathematician, the physician, the alchemist, and the magician; but by all as things now are with slight endeavour and scanty success.
The human understanding is unquiet; it cannot stop or rest, and still presses onward, but in vain. Therefore it is that we cannot conceive of any end or limit to the world, but always as of necessity it occurs to us that there is something beyond... But he is no less an unskilled and shallow philosopher who seeks causes of that which is most general, than he who in things subordinate and subaltern omits to do so
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
For first of all we must prepare a Natural and Experimental History, sufficient and good; and this is the foundation of all; for we are not to imagine or suppose, but to discover, what nature does or may be made to do.