The way it has been made The internal structure of a work of art in metal can often throw as much, or more, light on its origin as can be derived from stylistic analysis. Moreover, the techniques employed can provide clues to the habits of mind of the people who originated them. …Perhaps the most important reason for structural studies of museum objects is that the intimate knowledge so derived as to the way in which an object has been made adds so greatly to the aesthetic enjoyment of it. Very often some detail and sometimes the whole of an effective design arises directly in the exploitation of the merits and the overcoming of the difficulties of a specific technique, in the reaction between the artist’s fingers and his material. The Interpretation of Microstructures of Metallic Artifacts historytechniquemakingobjects
ƒ/8 and be there "f/8 and be there" is an expression popularly used by photographers to indicate the importance of taking the opportunity for a picture rather than being too concerned about using the best technique. Often attributed to the noir-style New York City photographer Weegee, it has come to represent a philosophy in which, on occasion, action is more important than reflection. Wikipedia en.wikipedia.org photographytechnique
Iconography It is understandable that those students who must work from reproductions of works of art are usually more interested in iconography than in the more subtle questions of technique and quality, but it is regrettable that technical ignorance should so frequently prevent art historians from considering the whole experience of the artist. Cyril Stanley Smith, A Search for Structure artexperiencetechnique
Understanding technique Technique is an essential aspect of any work of art from a trivial trinket to the greatest painting, and some specialized study of it is essential to full appreciation. Though museum labels and catalogs refer to materials and processes — “bronze,” “fresco,” “parcel gilt,” “tempera,” “lacquer on wood,” and so on — they usually display only superficial attention to the essential details of the artist’s technique. Cyril Stanley Smith, A Search for Structure technique
Resonances The resonances arising in workmanship are often very subtle. The fact that the material itself guides the tool differently in different processes of working introduces changes in the overall relationship of curvatures. The smooth curves of surfaces approaching the edge of a jade axe that come about from innumerable abrasive particles moving against a slightly yielding and mechanically unconstrained backing would seem incongruous if other surfaces or outlines were present that had come from cleavage or from the geometric motions of a machine. These could be produced easily enough, but the eye would not establish larger resonances among them. Cyril Stanley Smith, A Search for Structure toolstechniquecraft
The Collected Poems of Emily Dickinson A Poetry Collection by Emily Dickinson www.goodreads.com The brain is wider than the skyThe brain within its grooveWhat if I say I shall not wait?The CaspianWe outgrow love+3 More
The brain is wider than the sky The brain is wider than the sky, For, put them side by side, The one the other will include With ease, and you beside. The brain is deeper than the sea, For, hold them, blue to blue, The one the other will absorb, As sponges, buckets do. The brain is just the weight of God, For, lift them, pound for pound, And they will differ, if they do, As syllable from sound. The Art of Looking Sidewaysthe speed of God wordsthinkingcognition
The brain within its groove The brain within its groove Runs evenly and true; But let a splinter swerve, T'were easier for you To put the water back When floods have slit the hills, And scooped a turnpike for themselves, And blotted out the mills! insanitymind
What if I say I shall not wait? What if I say I shall not wait? What if I burst the fleshly gate And pass, escaped, to thee? waitingdeath
The Caspian The Caspian has its realms of sand, Its other realm of sea; Without the sterile perquisite No Caspian could be. beautybalance
We outgrow love We outgrow love like other things And put it in the drawer, Till it an antique fashion shows Like costumes grandsires wore. lovemelancholy
I died for beauty I died for beauty, but was scarce Adjusted in the tomb, When one who died for truth was lain In an adjoining room. He questioned softly why I failed? "For beauty," I replied. "And I for truth, — the two are one; We brethren are," he said. beautytruth
The morning after death The bustle in a house The morning after death Is solemnest of industries Enacted upon earth,— The sweeping up the heart, And putting love away We shall not want to use again Until eternity. death
Because I could not stop for Death Because I could not stop for Death, He kindly stopped for me; The carriage held but just ourselves And Immortality. timedeath