Hi

@edwardleeds replied to your ask: get creative top 5 ppl u wanna murder...

I meant the dragon thingy. My bad!

Raphael, while still a very young student, found himself almost without realizing it incorporating and possessing the whole tradition of his master, Perugino: drawing, chiaroscuro, matter, myth, subject, composition, architecture--all this was 'given' to him. Hence he was lord and master. He was free. He could work within such narrow limits that he could give his whole mind to doing it. If he decided to suppress a few columns or to add a few steps to the stairway; if he thought the head of the Madonna should lean forward a little more, that the shadow of the orbits of her eyes should have a more melancholy accent, with what luxury, what intensity, what liberty of invention could he do this. The complete opposite is Picasso, as great as Raphael, but damned. Damned and condemned to eternal plagiarism; for, having fought, broken, and smashed tradition, his work has the dazzle of lightning and the anger of the slave. Like a slave he is chained hand and foot by the chains of his own inventions. Having reinvented everything, he is tyrannized by everything. In each of his works Picasso struggles like a convict; he is tyrannized, reduced to slavery by the drawing, the color, the perspective, the composition, by each of these things. Instead of leaning upon the immediate past which is their source, upon the 'blood of reality' which is tradition, he must lean upon the 'memory' of all that he has seen--plagiarism of the Etruscan vases, plagiarism of Toulouse-Lautrec, plagiarism of Africa, plagiarism of Ingres. THE POVERTY OF REVOLUTION. Nothing is truer: 'The more one tries to revolutionize, the more one does the same thing.'