I would like my pictures to look as if a human being had passed between them, like a snail, leaving a trail of the human presence and memory trace of past events, as the snail leaves its slime.
Upon a given body to generate and superinduce a new nature or new natures is the work and aim of human power. To discover the Form of a given nature, or its true difference, or its causal nature, or fount of its emanation... this is the work and aim of human knowledge.
Certainly virtue is like precious odors, most fragrant when they are incensed, or crushed: for prosperity doth best discover vice, but adversity doth best discover virtue.
I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself. I think another thing is to be able to find subjects which really absorb you to try and do. I feel that without a subject you automatically go back into decoration because you haven't got the subject which is always eating into you to bring it back - and the greatest art always returns you to the vulnerability of the human situation.
I'll follow, as they say, for reward. He that rewards me, God reward him. If I do grow great, I'll grow less; for I'll purge, and leave sack, and live cleanly, as a nobleman should do.
An illustrational form tells you through the intelligence immediately what the form is about, whereas a non-illustrational form works first upon sensation and then slowly leaks back into the fact.
To conclude, therefore, let no man upon a weak conceit of sobriety or an ill-applied moderation think or maintain that a man can search too far, or be too well studied in the book of God's word, or the book of God's works, divinity or philosophy; but rather let men endeavor an endless progress or proficience in both; only let men beware that they apply both to charity, and not to swelling; to use, and not to ostentation; and again, that they do not unwisely mingle or confound these learnings together.