| The first excerpt represents the past or something you must release, and is drawn from The Hidden Masterpiece by Honore de Balzac: skeleton without the life. But there is a higher truth still,--namely,
that practice and observation are the essentials of a painter; and
that if reason and poesy persist in wrangling with the tools, the
brushes, we shall be brought to doubt, like Frenhofer, who is as much
excited in brain as he is exalted in art. A sublime painter, indeed;
but he had the misfortune to be born rich, and that enables him to
stray into theory and conjecture. Do not imitate him. Work! work!
painters should theorize with their brushes in their hands."
"We will contrive to get in," cried Poussin, not listening to Porbus,
and thinking only of the hidden masterpiece.
Porbus smiled at the youth's enthusiasm, and bade him farewell with a
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Songs of Innocence and Experience by William Blake: Dare frame thy fearful symmetry?
MY PRETTY ROSE TREE
A flower was offered to me,
Such a flower as May never bore;
But I said, 'I've a pretty rose tree,'
And I passed the sweet flower o'er.
Then I went to my pretty rose tree,
To tend her by day and by night;
But my rose turned away with jealousy,
And her thorns were my only delight.
AH, SUNFLOWER
Songs of Innocence and Experience |
The third excerpt represents the future or something you must embrace, and is drawn from The Patchwork Girl of Oz by L. Frank Baum: upon. Also, on the sides of the pathway leading up
to the front door of the castle, were rows of tin
statuary, very cleverly executed. Among these Ojo
recognized statues of Dorothy, Toto, the
Scarecrow, the Wizard, the Shaggy Man, Jack
Pumpkinhead and Ozma, all standing upon neat
pedestals of tin.
Toto was well acquainted with the residence of
the Tin Woodman and, being assured a joyful
welcome, he ran ahead and barked so loudly at the
front door that the Tin Woodman heard him and came
The Patchwork Girl of Oz |
