“If it recedes one day, leaving behind its works and signs on the shores of our civilization, the structuralist invasion might become a question or the historian of ideas, or perhaps even an object. But the historian would be deceived if he came to this pass: by the very act of considering the structuralist invasion as an object he would forget its meaning and would forget that what is at stake, first of all,, is an adventure of vision, a conversion of the way of putting questions to any object posed before us, to historical objects-his own- in particular. And, unexpectedly among these, the literary objects.”

On The Algebra of Logic (1885)
Context: If the sign were not related to its object except by the mind thinking of them separately, it would not fulfil the function of a sign at all. Supposing, then, the relation of the sign to its object does not lie in a mental association, there must be a direct dual relation of the sign to its object independent of the mind using the sign. In the second of the three cases just spoken of, this dual relation is not degenerate, and the sign signifies its object solely by virtue of being really connected with it. Of this nature are all natural signs and physical symptoms. I call such a sign an index, a pointing finger being the type of the class.
The index asserts nothing; it only says "There!" It takes hold of our eyes, as it were, and forcibly directs them to a particular object, and there it stops. Demonstrative and relative pronouns are nearly pure indices, because they denote things without describing them; so are the letters on a geometrical diagram, and the subscript numbers which in algebra distinguish one value from another without saying what those values are.

Kein Mensch kann sich selbst je verstehen, denn dazu müßte er aus sich selbst herausgehen, dazu müßte das Subjekt des Erkennens und Wollens Objekt werden können: ganz wie, um das Universum zu verstehen, ein Standpunkt noch außerhalb des Universums erforderlich wäre.
Source: Sex and Character (1903), pp. 105-106.

Source: The Sense of an Ending

The Tragic Sense of Life (1913), III : The Hunger of Immortality
Context: The vain man is in like cause with the avaricious — he takes the mean for the end; forgetting the end he pursues the means for its own sake and goes no further. The seeming to be something, conducive to being it, ends by forming our objective. We need that others should believe in our superiority to them in order that we may believe in it ourselves, and upon their belief base our faith in our own persistence, or at least in the persistence of our fame. We are more grateful to him that congratulates us on the skill with which we defend a cause than we are to him who recognizes the truth or goodness of the cause itself. A rabid mania for originality is rife in the modern intellectual world and characterizes all individual effort. We would rather err with genius than hit the mark with the crowd.

Gorky's quote refers to the heavy swift in modern art because of the appearance of Cubism
1942 - 1948
Source: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]

17 U.S. (4 Wheaton) 316, 423. Regarding the Supreme Courts judicial review power in the context of the Necessary and Proper Clause.
McCulloch v. Maryland (1819)

Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 256).
Quotes, 1930's, "Conversations avec Picasso," 1934–35

The Education of Henry Adams (1907)

Source: 1970s, On purposeful systems., 1972, p. 237, as cited in: William E. Smith (2008) The Creative Power. p. 58.