Lorena Fleury

To let the eye stray over a palette, splashed with many colours, produces a dual result. In the first place one receives a PURELY PHYSICAL IMPRESSION, one of pleasure and contentment at the varied and beautiful colours. The eye is either warmed or else soothed and cooled. But these physical sensations can only be of short duration. They are merely... See more

The spiritual life, to which art belongs and of which she is one of the mightiest elements, is a complicated but definite and easily definable movement forwards and upwards

“A negritude não é mais bem expressa no sentido literal pela pintura de um rosto negro do que o é por uma linha negra”1, escreveu Frank Bowling em 1970. Não existe um símbolo que represente a experiência da negritude mais do que outro símbolo. A abstração é tão eficaz quanto a figuração na construção do significado negro, talvez porque nenhuma das... See more

1) Either form aims at so limiting surfaces as to fashion of them some material object; (2) Or form remains abstract, describing only a non-material, spiritual entity

For since the artist in such times has no need to say much, but only to be notorious for some small originality and consequently lauded by a small group of patrons and connoisseurs (which incidentally is also a very profitable business for him)

“the Hemingway effect,” whereby those who purposefully interrupted the completion of a task not only experienced better recall, but exhibited better rates of completion

The observer of today, however, is seldom capable of feeling such emotions. He seeks in a work of art a mere imitation of nature which can serve some definite purpose (for example a portrait in the ordinary sense) or a presentment of nature according to a certain convention ("impressionist" painting)

“Whenever in a person or a work of art, an expression of spirituality came to light... [Freud] suspected it and insinuated that it was repressed sexuality.” Jung couldn’t accept Freud’s mechanistic view of humanity