“How significant is the enormous heightening, under mescalin, of the perception of color! … Man's highly developed color sense is a biological luxury—inestimably precious to him as an intellectual and spiritual being, but unnecessary to his survival as an animal. … Mescalin raises all colors to a higher power and makes the percipient aware of innumerable fine shades of difference, to which, at ordinary times, he is completely blind. It would seem that, for Mind at Large, the so-called secondary characters of things are primary.”

— Aldous Huxley , book The Doors of Perception

describing his experiment with mescaline, pp. 26-27
The Doors of Perception (1954)

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Aldous Huxley 290

English writer 1894–1963

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“What the rest of us see only under the influence of mescalin, the artist is congenitally equipped to see all the time. His perception is not limited to what is biologically or socially useful.”

Aldous Huxley book The Doors of Perception

Page 168
The Doors of Perception (1954)

“To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large — this is an experience of inestimable value to everyone and especially to the intellectual.”

Aldous Huxley book The Doors of Perception

The Doors of Perception (1954)

“Aldous Huxley took the drug mescaline and then chronicled his experience in the book The Doors of Perception.”

Bill Bailey (1965) English comedian, musician, actor, TV and radio presenter and author

Now, I don't actually think that's the first thing he wrote: he probably wrote 'my brain is melting' ten thousand times, but it was the book that the critics latched on to.
Is It Bill Bailey? (TV, 1998)

“The impressionistic method leads into a complete splitting and dissolution of all areas involved in the composition, and color is used to create an overall effect of light. The color is, through such a shading down from the highest light in the deepest shadows, sacrified an degraded to a (black-and-white) function. This leads to the destructions of the color as color.”

Hans Hofmann (1880–1966) American artist

Hofmann's quote in: 'Space pictorially realized through the intrinsic faculty of the colors to express volume' in New Paintings by Hans Hofmann (1951); also in Hans Hofmann (1998) by Helmut Friedel and Tina Dickey
1950s

“The romantic [Dutch] movement under the leadership of the geniuses Nuyen [c. 1830] also attracted me to follow. And in spite of the fact that in this way people lost their color and embellishment and often degenerating into chic, later on, a more sensible search arose for enlivening of coloration, heightening effect and strengthening the relief.”

Johannes Bosboom (1817–1891) Dutch painter

version in original Dutch (citaat van Johannes Bosboom, in Nederlands): De romantische beweging onder aanvoering van den genialen nl:Wijnand Nuijen trok ook mij aan tot volgen. En al verviel men langs dien weg in gekleurdheid en opgesmuktheid, vaak ontaardend in chic; er ontsproot daaruit later een meer verstandig zoeken naar verlevendiging van coloriet, verhooging van effect, vermeerdering van reliëf.
Quote from Bosboom's small autobiography, 1891; as cited in De Hollandsche Schilderkunst in de Negentiende Eeuw, G. H. Marius; https://ia800204.us.archive.org/31/items/dehollandschesch00mariuoft/dehollandschesch00mariuoft.pdf Martinus Nijhoff, s-'Gravenhage / The Hague, tweede druk, 1920, pp. 74-75 (translation from the original Dutch: Fons Heijnsbroek)
1890's

“The color of the prisoner’s skin, and the form of his features, are not impressed upon the spiritual immortal mind which works beneath. In spite of human pride, he is still your brother, and mine, in form and color accepted and approved by his Father, and yours, and mine, and bears equally with us the proudest inheritance of our race — the image of our Maker. Hold him then to be a Man.”

William H. Seward (1801–1872) American lawyer and politician

Argument as defense attorney during the trial of an African-American criminal defendant, Auburn, New York (July 1846), published in Works of William H. Seward, vol. I (New York: Redfield, 1853), p. 417.

“A large vocabulary is like an artist having a big palette of colors. We don't have to use all the colors in a single painting, but it helps to be able to find just the right shade when we need it.”

Anu Garg (1967) Indian author

The Philomath Speaks An Interview with Anu Garg (Dec 15, 2009) http://www.nas.org/articles/The_Philomath_Speaks_An_Interview_with_Anu_Garg

“In visual perception a color is almost never seen as it really is — as it physically is. This fact makes color the most relative medium in art.”

Josef Albers (1888–1976) German-American artist and educator

Quoted in: Margaret Walch (1979) Color source book, p. 98

“There is no conceivable reason why all colored people should not be treated according to the merits of each individual. It is not only the plain duty, but also the interest of us all, to have every colored man take the place for which he is best fitted by education, character, ability, manners, and culture. If others insist on keeping him in any lower and poorer place, it is not only his injury, but our universal loss. Yet which of our white congregations would take a colored pastor? How many of our New England villages would like to have colored postmasters, or doctors, or lawyers, or teachers in the public schools? A very slight difference in complexion suffices to keep a young man from getting a place as policeman, or fireman, or conductor, even on the horse cars. The trades-unions are closed against him, and so are many of our stores; while those which admit him are obliged to refuse him promotion on account of the unwillingness of white men to serve under him.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

Speech http://teachingamericanhistory.org/library/document/the-nations-problem/

“The future painter must feel what is useful for his development – drawing or even sculpture everything that will let him become one with Nature, identify himself with her, by entering into the things – which is what I call Nature – that arouse his feelings. I believe study by means of drawing is most essential. If drawing is of the Spirit and color of the Senses, you must draw first, to cultivate the spirit and to be able to lead color into spiritual paths.”

Henri Matisse (1869–1954) French artist

In a letter to Mr. Clifford, February 14, 1948; as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 238-239
1940s

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