Beautiful Objects Quotes

All one wants to do is make a small, finished, polished, burnished, beautiful object . . . I mean, that's all one wants to do. One has nothing to say about the world, or society, or morals or politics or anything else. One just wants to get the damn thing done, you know? Kafka had it right when he said that the artist is the man who has nothing to say. It's true. You get the thing done, but you don't actually have anything to communicate, apart from the object itself.

It was a very proper answer to him who asked why any map should be delighted with beauty, that it was a question that none but a blind man could ask; since any beautiful object doth so much attract the sight of all men, that it is in no man's power not to be pleased with it.

The most beautiful object in the world, it will be allowed, is a beautiful woman.

The singular point of beautiful objects, and people, is that they are experienced not as parts, or ratios between cheekbones and chin, but as wholes. The experience of beauty is a perception, but it is one that mixes up various other sensations and makes them converge in a particular way.

What I have always found most beautiful in the theatre, in my childhood, and still today, is lustre--a beautiful object, luminous, crystalline, complex, circular, symmetrical. However, I do not absolutely deny the value of dramatic literature. Only, I should like the actors to be mounted on high pattens, to wear masks more expressive than the human face, and to speak through megaphones.

I don't own a Kindle, no. I love books, they are beautiful objects.

Beautiful objects are wrought by study through effort, but ugly things are reaped automatically without toil.

I love grand scale. One of the things that everybody mentions is that my novels are beautiful objects in the sense that the elements of the actual book are being extruded and re-contextualized.

The experience of beauty is in the eye of the beholder, as they say. The artist's relation to the object of beauty, how the art makes that happen, is a whole other subject. Beauty is an event. Beauty is something that happens. There is no such thing as a beautiful object or a beautiful woman.

The experience of beauty is in the eye of the beholder, as they say. The artist's relation to the object of beauty, how the art makes that happen, is a whole other subject. Beauty is an event. Beauty is something that happens. There is no such thing as a beautiful object or a beautiful woman. These things do not come near it - the experience of beauty, the event of beauty. The anxiety about it is what makes it such a central concern of culture and makes us so interested in it.

The cart before the horse is neither beautiful nor useful. Before we can adorn our houses with beautiful objects the walls must bestripped, and our lives must be stripped, and beautiful housekeeping and beautiful living laid for a foundation.

One cannot create happiness with beautiful objects, but one can spoil quite a lot of happiness with bad ones

Quit trying to find beautiful objects to photograph. Find the ordinary objects so you can transform it by photographing it.

For me, life offers so many complexly appealing moments that two beautiful objects may be equally beautiful for different reasons and at different times. How can one choose?

Beautiful objects, ideas, even beautiful people all share the power to lift the spirits and motivate creativity while at the same time soothing the soul.

When we see a beautiful object, a beautiful garden, or a beautiful flower, let us think that there we behold a ray of the infinite beauty of God, who has given existence to that object.

Beauty is, in some way, boring. Even if its concept changes through the ages... a beautiful object must always follow certain rules. A beautiful nose shouldn't be longer than that or shorter than that, on the contrary, an ugly nose can be as long as the one of Pinocchio, or as big as the trunk of an elephant, or like the beak of an eagle, and so ugliness is unpredictable, and offers an infinite range of possibility. Beauty is finite, ugliness is infinite like God.

The things that we preceive as beautiful may be different, but the actual characteristics we ascribe to beautiful objects are similar. Think about it. When something strikes us as beautiful, it displays more presence and sharpness of shape and vividness of color, doesn't it? It stands out. It shines. It seems almost iridescent compared to the dullness of other objects less attractive.

The more perfect the sight is the more delightful the beautiful object. The more perfect the appetite, the sweeter the food. The more musical the ear, the more pleasant the melody. The more perfect the soul, the more joyous the joys of heaven, and the more glorious that glory.

If beauty is in the eye of the beholder, so is ugliness.

Beauty is in the eye of the beholder, get it out with Optrex.

I don't think I'm wrong when I say that the most beautiful objects of the "stone age" were made of skin, fabric, and especially wood. The "stone age" ought to be called the "wood age." How many African statues are made of stone, bone, or ivory? Maybe one in a thousand! And prehistoric man had no more ivory at his disposal than African tribes. Maybe even less. He must have had thousands of wooden fetishes, all gone now.

The strongest affection and utmost zeal should, I think, promote the studies concerned with the most beautiful objects, most deserving to be known.

For the first time in his life, he stopped worrying about results, and as a consequence the terms “success” and “failure” had suddenly lost their meaning for him. The true purpose of art was not to create beautiful objects, he discovered. It was a method of understanding, a way of penetrating the world and finding one’s place in it, and whatever aesthetic qualities an individual canvas might have were almost an incidental by-product of the effort to engage oneself in this struggle, to enter into the thick of things.

Justice, like beauty, is in the eye of the beholder.

The beauty is in the eye of the beholder.

What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects.