Christians

"In my opinion, a good guitar is the guitar that brings the best out of you as a player and helps you articulate your musical voice in its highest and most authentic form."

"A believer’s theology is being shaped by the worship songs they’re singing in church or listening to through the week, as much as the sermons they’re hearing on Sundays. And what we believe about God completely dictates the way we see Him, ourselves, others, and indeed our very lives."

"If I was a furniture mover, I’d probably volunteer to put out the chairs at church on Sunday. If I was a barista, I’d probably volunteer to make coffees in the church foyer on Sunday. Music is what I have in my hand, so it’s how I can serve."

"Darlene Zschech. Eighteen years ago she saw something in me I didn’t see in myself. She called me out and up and on — as she has for so many others — and continues to do so. A true mother in every sense."

"Whatever you feed yourself, is what's going to come out. You could say life is like that, Scripture is the answer to that. I love to read, I love the Bible, I have a bad back because of it."

"Songs are not only like poo, but songs are almost like the ground that's fertilized by the manure of life."

"When it comes to worship, I think that one of the special things about Hillsong Church is that every single one of our songwriters are people who are either serving in the church, volunteers or staff [but] none of us are on staff to write. We're in the business of building the church, Meaning where there's life, there's mess. That's the reality of humanity, I think that all of that manure, in all of its stench and warmth is a fertilizer for songs."

"Now that I have seen I am responsible, faith without deeds is dead."

"One of the things about being a follower of Jesus is that though our calling doesn't change - the Great Commission - our assignments that are attached to that calling do change. So for that reason I really don't feel comfortable with any kind of titles because I'm really just doing whatever the Lord has me do in whatever particular season that is and that changes. I wrote a song about this a few years ago called 'New Wine', about not becoming so attached to the wineskins or not so attached to the ways that we assume God wants to use us, that we become so attached to that that we can't hold maybe the next thing that God wants to take us into."

"Community is one of the ways that God is still rubbing off some of my sharp edges and some of my spiky bits. The things that come with community that can be really uncomfortable are actually one of the ways the Lord uses to form us more into his likeness."

"Real Christians revel in desperate ventures for Christ, expecting from God great things and attempting the same with exhilaration."

"Rembrandt was the sharpest observer of human behavior. This is his amazing strength and needs to be studied. We cannot understand him if we deny his use of models and de-attribute half his output. He was the most important signpost for artists. Scholarly antics have pushed him into a position where he is no longer trusted by the young. I have been preaching the need for a paradigm shift in the mind-set of the tribe of art historians for years. They need to start by experiencing practical art for themselves, or at minimum, have the humility to listen to those who have."

"Rembrandt is the most transparent artist I know. What he proclaimed as his credo, the commentaries of his contemporaries and what we find in the drawings all add up to one obsessively truthful, artist. One who proclaimed that he drew from nature (life) and 'anything else (invention) was worthless in his eyes'. He could not have been clearer, yet because this credo directly contradicts the apparent credo of our times: the more an artist differs from nature the more 'creative' that artist is, Rembrandt's true gift to us has been excised."

"My discoveries came as a result of practising art. For me Rembrandt's drawings exemplify above all others, the sculptural values of space and form. The scholars live in a world apart, reading each others books but refusing all correction from artists; alas, it is our history they are ravaging!"

"Rembrandt was on a continuous journey of discovery; not on a production line of consistent art objects for the market-place, as the scholars hope to recreate him. His wide ranging methods and interests produced very wide ranging quality. He did not tidy away his less successful works, nor should the scholars do so. He has left us the fullest record of his explorations of any artist and naturally his work includes many comparative failures. But astonishingly, even some of his greatest drawings have been mis-attributed to minor students."

"..on 'Christ Presented to the People' Rembrandt confronts us head on with the dramatic events described in the Bible. The Roman governor Pontius Pilate appears on the platform with his retinue. Beside him stand two prisoners, one of them Christ. The people are allowed to decide. On the extreme left of the platform someone stands ready with a jug of water. Pilate would wash his hands to demonstrate his innocence after the people had chosen. That Rembrandt used such a large copper plate to create this spectacular and strictly organized composition is admirable enough. He scored the angular and expressive lines of the many figures into the tough metal with a hard, sharp needle. But then he had the courage to remove large parts that had already been completed and start all over again."

"In a way, Vermeer and Rembrandt are opposites. But Rembrandt is the greater artist, I think, because he's got more ingredients than Vermeer. Rembrandt put more in the face than anyone else ever has, before or since, because he saw more. And that was not a matter of using a camera. That was to do with his heart. The Chinese say you need three things for paintings: the hand, the eye and the heart. I think that remark is very, very good. Two won't do. A good eye and heart is not enough, neither is a good hand and eye. It applies to every drawing and painting Rembrandt ever made. His work is a great example of the hand, the eye – and the heart. There is incredible empathy in it."

"I am very sure that if Rembrandt had held himself down to his studio practice (drawing every figure nude before putting clothing on them) he would not have either that power of pantomime nor that power over effects which makes his scenes so genuinely the expression of nature.. ..the further I go on in life the more I feel within me that truth is what is most beautiful, and most rare.. ..[this] is to be found again in Rembrandt's mysterious conception of his subjects, in the deep naturalness of expressions and of gestures."

"Rembrandt is revered as one of the greatest and most important figures in the trajectory of art, and for good reason. He was, by design or nature, a revolutionary. As such he is perhaps a uniquely qualified interlocutor with other cultures and civilizations. (...) For the first time in the history of art, the painting speaks for itself. To put it another way, as Malraux phrased it, Rembrandt was the first to touch the soul with his paintings. He went well beyond the subject matter, which is only a pretense of sorts, to reach a more profound truth. As one watches the trajectory of his career arc, he is always stretching further and further in his paintings, to find his own concept of 'beauty'. That is why he was influential for future generations. By throwing off the confines of classicism, he freed others to push their own boundaries in the pursuit of beauty through their own conceptions of truth.. ..André Malraux described Rembrandt as prophet. He drew from the past to unleash the future. It is an exciting thought. Of course, he came to be seen as a metaphor for virtuosity. André Gide made a wonderful compliment to Dostoyevsky by claiming that he was the greatest novelist because he created portraits in his writings like Rembrandt painted."

"I have a memory above all of a small landscape by Rembrandt with this inscription 'Tacet sed loquitur', which made such an impression on me in my childhood."

"Perhaps we shall one day find that Rembrandt is a greater painter than Raphael. I write down this blasphemy which will cause the hair of the school-men to stand on end without taking sides."

"Rembrandt to me is the greatest artist in history — not just because of his work, but also the impact that he had on the trajectory of art, by allowing artists to express themselves with unprecedented freedom. The DNA of Rembrandt can be found in Goya, Van Gogh, Picasso, Delacroix, Turner and all the way through to Russian avant-garde and Chinese contemporary art. That's what I would call transcendent influence."

"If you look at early Rembrandt portraits, they are very linear and the brushstrokes are almost invisible. The late ones are much freer, and the brushstrokes are very obvious and as much a part of the work as the subject. These things are never intentional, and I cannot see how they can be explained."

"He [Rembrandt] introduced a new ideal, not the ideal of forms, but the ideal of clair-obscur, not the ideal of beauty, but the ideal of expression."

"Rembrandt the Thinker."

"You speak to me of Rembrand, of this famous, of this great, of this giant.. .I would very much like to see the painting by Rembrandt of which you speak, because it should be quiete splendid. I eat it up from here (you know the fashionable phrase)"

"Rembrandt was also fond of this subject from the story of Tobias [and the Angel of which he painted various scenes in an informal style, which recalls a little the peasant-like style of M. Millet.. ..For two centuries, the exclusive amateurs of the grand Italian style have always manhandled Rembrandt, which have not prevented him from making inroads in the museums.. ..of Europe, This should console the realists [a. o. Millet a bit fort the current injustices and give them some hope for the future."

"[that Rembrandt] tugged people away who peered to closely at his pictures when visiting his studio saying: 'The smell of the paint would bother you'."

"[that because] Rembrandt's manner was so generally praised, everything had to be based on it [so that] to please the World he (Govert Flinck) found it advisable to go and learn from Rembrandt for a year, where he became accustomed to that handling and manner of painting.. ..It was the mark of Flinck's talent that after only this brief time his own work was taken and sold as the rue brushwork of Rembrandt."

"He only lived with the lower class and people much below himself.. .He looked to nature as the only one capable of teaching him. He chose no other studio for his studies than his father's windmill."

"He [Rembrandt] was not to be dissuaded from this practice, saying in justification that a work is finished when the master has achieved his intention in it."

"Well, any draftsman knows about speed. I mean, Rembrandt drawings, you can see speed in them. I am interested in speed. I think most painters paint faster than they tell you."

"With regard to art he [Rembrandt] was rich with ideas, so that you frequently see him making a great number of different sketches of one and the same object, full also of changes in the figures and poses as well as the arrangement of the clothing; for which he is to be praised above all others – especially above those who employ such figures and clothing in their work as if they were twins."

"He [Rembrandt] had been so busy painting continuously over so many years that people had to wait some considerable time for their paintings, in spite of the fact that he continued working dexterously, particularly in his later period when, seen close to, it looked as though the paint had been smeared on with a bricklayers trowel.."

"Works produced in an accidental manner [as Rembrandt did, according to Reynolds] will have the same free, unrestrained air as works of nature, whose particular combinations seems to depend upon accident."

"There's a Rembrandt trapped in this body. It's your job to find it."

"Dutch original text: Vele jaren agter den anderen heeft hy het met schilderen zoo druk gehad dat de menschen lang naar hunne stukken moesten wagten, niettegenstaande dat hy met zyn werk vaardig voortging, inzonderheid in zyn laatsten tyd, toen het 'er, van na by bezien, uitzag of het met een Metzelaars truffel was aangesmeert..."

"There's a drawing by Rembrandt, I think it's the greatest drawing ever done. It's in the British Museum and it's of a family teaching a child to walk, so it's a universal thing, everybody has experienced this or seen it happen. Everybody. I used to print out Rembrandt drawings big and give them to people and say: 'If you find a better drawing send it to me. But if you find a better one it will be by Goya or Michelangelo perhaps.' But I don't think there is one actually. It's a magnificent drawing, magnificent."

"I will not deny that I used to have a particular weakness for his [Rembrandt's] manner. But this was before I began to be aware of the infallible rules of painting. I later found myself obliged to concede my mistake and reject his art as based on nothing more than insubstantial imaginings."

"And Rembrandt, imaging the night too figuratively; in its bottom, full of darkness."

"Dutch original text: En Rembrandt, die den nagt verbeelde te figuurlijk. In zijnen duisteren grond."

"I therefore advise you not to put too many lights and shadows together, but to arrange them cleverly in groups. Allow your brightest lights subtly flow into the not so bright lights. I can assure you that they will light up all the more. Always surround your deepest and darkest areas with a clear brown, this way they will allow the light to brighten in strength and intensity. Rembrandt has used this virtue to great effect and he was expert in bringing together related colours."

"I gave up painting by 16. I secretly thought I would have been Rembrandt by then. I don't believe in genius. I believe in freedom. I think anyone can do it. Anyone can be like Rembrandt.. Picasso, Michelangelo, possibly, might be verging on genius, but I don't think a painter like Rembrandt is a genius. It's about freedom and guts. It's about looking. It can be learned. That's the great thing about art. Anybody can do it if you just believe. With practice, you can make great paintings."

"I have had three masters, Nature, Velázquez, and Rembrandt."

"But the empty spaces [in the painting] devoid of all shine or reflection we put in the fifth and last grade, and see them as identical to the black, the deepest colour [tone]. This remark will make us careful not to try and go further than the ability of our paint/colour allows. Because, if we go too far in height we will lack at the bottom of the picture [from light gradations: light to dark]. Such as will happen to those who, when painting a picture of the night, place a burning torch or candle in the foreground. They then no longer have the possibility of giving the rest of the painting clarity. As far as he was able, Rembrandt painted the strength of candlelight in a few brown prints, but when one covers the light the rest of the work remains dark because we tend to hold our hand up to the light, so that this does not obstruct our ability to differentiate everything clearly and vividly."

"It's an exhilarating feeling, holding that painting, especially when you have studied it for so long and are now the sole proprietor of said piece. To an art lover, possessing a Rembrandt can be likened to winning the World Series, the Super Bowl, and the Stanley Cup all at once. You feel a real sense of almost being a part of the artist's mind."

"The shadows cast in the house by sun shining inside are like those out of doors, except that they appear stronger and are more defined by a window or a door. Albrecht Dürer really enjoyed sun shining into a room in his 'Hieronymus in the Room' [https://www.Rijksmuseum.nl/nl/collectie/RP-P-OB-1224.. .Our own Rembrandt concerned himself in an amazing way with sunlight reflections. It seems as though he is really in his element when reflecting any light whatsoever. If only he had understood the basic rules of this art a little better. Because those who only trust their own eyes and delusional experiences, often make mistakes that earn the derisive remarks from pupils, not to mention the masters."

"He had an excellent Disposition for Painting. His Vein was fruitful, and his Thoughts fine and lively. But having suck'd in, with his Milk, the bad Taste of his Country, and aiming at nothing beyond a faithful Imitation of the living (heavy) Nature, which he had always before his Eyes, he form'd a Manner entirely new, and peculiar to himself. He prepar'd his Ground with a Lay of fiich(?) friendly Colours as united, and came nearest to the Life. Upon this he touch'd in his Virgin Tints (each in its proper Place) rough , and as little disturb'd by the Pencil, as possible: And with great Masses of Lights and Shadows rounding off his Figures, gave them a Force and Freshness, that was very surprising."

"Alongside Leonardo and Michelangelo, Rembrandt is one of the three most famous artists ever, with whom the public is on a first-name basis; and the name Rembrandt has lent the cachet of greatness and the grace of familiarity to sell everything from kitchen countertops to whitening toothpaste to fancy hotels in Bangkok and Knightsbridge. No work of Rembrandt's has attained the iconic status of the David or the Mona Lisa; yet Rembrandt seems to rank with the greatest of the great."

"His own house figures in many aspects of his work. This was his home, but it was also his workshop and his showroom. The most evocative room is his sunlit studio, where so many of his paintings evolved. In a way, it's still a workshop. Visitors are taught to make their own artworks here."