… the young girl’s words are, I think, a remarkable statement about artistic creation as an infinitely versatile and subtle form of communication:
“’… How many words does a person know?’ she asks her mother rhetorically. ‘How many does he use in his everyday vocabulary? One hundred, two, three? We wrap our feelings up in words, try to express in words sorrow and joy and any sort of emotion, the very things that can’t in fact be expressed. Romeo uttered beautiful words to Juliet, vivid, expressive words, but they surely didn’t say even half of what made his heart feel as if it was ready to jump out of his chest, and stopped him breathing, and made Juliet forget everything except her love?
There’s another kind of language, another form of communication: by means of feeling, and images. That is the contact that stops people being separated from each other, that brings down barriers.’”
Back [in] the Middle Ages, when artists were craftsmen and belonged to guilds…[a]rt was a job, like glassblowing. With the Renaissance came creative liberation. The artist gained sanction to develop his own character and style. “The more artists disengaged themselves from craftsmen,” write the Wittkowers, “the more they were expected to display—did display—symptoms of behavior not associated with the rank and file citizen.”Tom Jokinen, “The Myth of the Tortured Artist,” quoting from Margot and Rudolf Wittkower’s Born Under Saturn: The Character and Conduct of Artists (via austinkleon)