“.. the number of the engine [of the train], its profile shown in the upper part of the picture, its wind-cutting fore-part in the center, symbolical of parting, indicates the features of the scene that remain indelibly impressed upon the mind”
of the viewer
Quote from Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 21
a note on his tryptich painting, he made late in 1911, containing the canvasses 'States of Mind II', 'The farewells', 'Those Who go Those who Stay'.
1911
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Umberto Boccioni 41
Italian painter and sculptor 1882–1916Related quotes
Source: The Amazing Mr. Lutterworth (1958), p. 211

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter IX, Sec. 7

Source: Practical Pictorial Photography, 1898, Clouds. Their use, and practical instructions as to how to photography them, p. 92
“If you train the part of the body you get that part trained”
The lecture in Ashland, Oregon (8th of July 2005)

Speech to the Western Society of Engineers (18 September 1901); published in the Journal of the Western Society of Engineers (December 1901); republished with revisions by the author for the Annual Report of the Board of Regents of the Smithsonian Institution (1902) http://invention.psychology.msstate.edu/i/Wrights/library/Aeronautical.html
Context: The person who merely watches the flight of a bird gathers the impression that the bird has nothing to think of but the flapping of its wings. As a matter of fact this is a very small part of its mental labor. To even mention all the things the bird must constantly keep in mind in order to fly securely through the air would take a considerable part of the evening. If I take this piece of paper, and after placing it parallel with the ground, quickly let it fall, it will not settle steadily down as a staid, sensible piece of paper ought to do, but it insists on contravening every recognized rule of decorum, turning over and darting hither and thither in the most erratic manner, much after the style of an untrained horse. Yet this is the style of steed that men must learn to manage before flying can become an everyday sport. The bird has learned this art of equilibrium, and learned it so thoroughly that its skill is not apparent to our sight. We only learn to appreciate it when we try to imitate it.

Indian Spirituality and Life (1919)
Context: To the Indian mind the least important part of religion is its dogma; the religious spirit matters, not the theological credo. On the contrary to the Western mind a fixed intellectual belief is the most important part of a cult; it is its core of meaning, it is the thing that distinguishes it from others. For it is its formulated beliefs that make it either a true or a false religion, according as it agrees or does not agree with the credo of its critic. This notion, however foolish and shallow, is a necessary consequence of the Western idea which falsely supposes that intellectual truth is the highest verity and, even, that there is no other. The Indian religious thinker knows that all the highest eternal verities are truths of the spirit. The supreme truths are neither the rigid conclusions of logical reasoning nor the affirmations of credal statement, but fruits of the soul's inner experience. Intellectual truth is only one of the doors to the outer precincts of the temple. And since intellectual truth turned towards the Infinite must be in its very nature many-sided and not narrowly one, the most varying intellectual beliefs can be equally true because they mirror different facets of the Infinite. However separated by intellectual distance, they still form so many side-entrances which admit the mind to some faint ray from a supreme Light. There are no true and false religions, but rather all religions are true in their own way and degree. Each is one of the thousand paths to the One Eternal.

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 410

Source: Look Away!: A History of the Confederate States of America (2002), p. 21

1870s, Society and Solitude (1870), Art