The world of art is a place of possibility, optimism, and an endless supply of inspiration.
But the world we live in, and the world of artists, is one of extremes.
Art is a job.
It’s a profession.
It can be rewarding and sometimes dangerous, but in the end, it’s the most important profession in the world.
This week, as a former employee of the Dutch company behind the “Van Gogh” paintings, “The Surrealist” and other seminal works, The Globe and Mail asked some of the world’s most prominent artists what they think about art as a profession, and what it means to them personally.
I have an idea of a kind of ideal that I think should be the standard for all professions, which is the idea of the artist as a worker, and not just a spectator.
I think there is a certain degree of insecurity in the idea that the artist is a worker.
There are very few jobs in this world that aren’t a struggle, but most of them are not jobs that we are paid to do, and they are often very precarious.
I think that’s a good thing, because it is a way of acknowledging that there are really no guarantees in life, and that we really need to learn how to be independent, how to learn to manage our own lives.
That we are all capable of extraordinary things and we all have to work hard to achieve them.
In the past year, the Van Gogeghs have taken on many other important public roles, from being invited to speak at the United Nations General Assembly, to appearing at the World Economic Forum and, most recently, to appear at the 2016 Nobel Peace Prize ceremony in Oslo.
The paintings in question are not just some kind of abstract artwork, but are an integral part of a larger work of art that was created with the help of Van Goghan’s father, Gustave, and his sister, Sophie.
Van Googheds father died in 1997, and Sophie went on to become a painter.
It was Sophie who, in her late teens, created the first works of Van Gheerde, a master of geometric shapes that had been inspired by the famous painter’s own family art.
In 2014, the two sisters took over ownership of the family collection of Vangogh’s works, which has since expanded to include more than 100 works of art.
It is said that, at one point, Sophie took over the art collection herself.
But in an interview with the Globe and, to a much lesser extent, The New York Times, Van Gochans eldest son, Paul, said he does not see his father’s art as “an object” and that it is more of a part of him, the artist, who is “the one who creates it.”
I think that the best way to describe it is like a part or a part-time job.
I work with him on it, but it is also a passion and a gift, and it’s a work of love, and he does that.
And so I’m not a painter, I’m an artist, he says.
I’m a great artist, but I’m also a great man.
I’ve got to be, because I’ve been the father of his art.
And I do.
But it is an art.
It is hard to put a dollar figure on the value of the work, but Van Goheim has estimated that it costs him about $500,000 to make each one.
I am not talking about the money that he pays to his art students.
It doesn’t include what he pays the artists he works with, including his wife, who, according to Van Gohei, makes him happy and provides for him financially.
But that is another story.
The work is the product of his mind.
Van Goheim also said that he does the work as a hobby, which seems to be a very different concept from the way he views his work as part of his job.
He described his work in the book, “Unbroken” as an art, not a business, and said he has no interest in selling it.
It has to be part of the art.
And yet he said that a painting he was working on is one that “sounds so much like a work I’ve made” that he would be willing to sell it for a few hundred thousand dollars.
I’d love to sell a painting that sounds like a good work of mine.
I love that idea, and I think it sounds good.
I don’t think that it’s going to be easy.
I don’t know if I can do it, and in the process I’d like to have a better understanding of myself, of what I want from art, and then I’d make a decision about whether to continue with it.
But I do think it’s possible, and if you look at Van Goighed,