The overhead lights reflect in the glass countertop and mingle in the gray and black of the gloves, resulting in a mother-of-pearl swirl that sometimes sends Mirabelle into a shallow hypnotic dream.
Steve MartinHe gave her his phone number, in a peculiar reversal of dating procedure. She might have considered kissing him, even after the horrible first date, but he just didn’t seem to know what to do. However, Jeremy does have one outstanding quality. He likes her. And this quality in a person makes them infinitely interesting to the person who is being liked.
Steve MartinTag: inspirational
I believe in equality. Equality for everybody. No matter how stupid they are or how superior I am to them.
Steve MartinTag: humor human-nature unexpected-humor
I have found that-- just as in real life--imagination sometimes has to stand in for experience.
Steve MartinAlways...no wait...never.....
Steve MartinLacy was just as happy alone as with company. When she was alone, she was potential; with others she was realized.
Steve MartinWhen someone less capable is ahead of me, I am not pleased. It makes me insane.
Steve MartinThe emotions of men, however, were of a different order. They were pesky annoyances, small dust devils at her feet. Her knack for causing heartbreak was innate, but her vitality often made people forgive her romantic misdeeds.
Steve Martin…when the person beside you is making you alert and keen and the idea of being with anyone else is not imaginable…
Steve MartinTag: love
both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.
Steve Martin« prima precedente
Pagina 7 di 13.
prossimo ultimo »
Data privacy
Imprint
Contact
Diese Website verwendet Cookies, um Ihnen die bestmögliche Funktionalität bieten zu können.