Quotes about beauty
page 37

Dejan Stojanovic photo

“It is beautiful to talk about beautiful things and even more beautiful to silently gaze at them.”

Dejan Stojanovic (1959) poet, writer, and businessman

Words and Beauty http://www.poemhunter.com/poem/words-and-beauty/
From the poems written in English

Garth Brooks photo
John Crowe Ransom photo

“And a wandering beauty is a blade out of its scabbard.
You know how dangerous, gentlemen of threescore?
May you know it yet ten more.”

John Crowe Ransom (1888–1974) American poet

"Judith of Bethulia", line 4.
Chills and Fevers (1924)

Ayumi Hamasaki photo

“In a city [world] as dirty as this,
You gather up, save, and show me
Purely beautiful things.”

Ayumi Hamasaki (1978) Japanese recording artist, lyricist, model, and actress

Free & Easy
Lyrics, Rainbow

Aurelius Augustinus photo

“Late have I loved you, O Beauty ever ancient and ever new! Late have I loved you! And, behold, you were within me, and I out of myself, and there I searched for you.”
Sero te amavi, pulchritudo tam antiqua et tam nova, sero te amavi! et ecce intus eras et ego foris, et ibi te quaerebam.

X, 27, as translated in Theology and Discovery: Essays in honor of Karl Rahner, S.J. (1980) edited by William J. Kelly
Variant translations:
So late I loved you, O Beauty ever ancient and ever new! So late I loved you!
The Ethics of Modernism: Moral Ideas in Yeats, Eliot, Joyce, Woolf, and Beckett‎ (2007), by Lee Oser, p. 29
Too late I loved you, O Beauty ever ancient and ever new! Too late I loved you! And, behold, you were within me, and I out of myself, and there I searched for you.
Introduction to a Philosophy of Religion (1970) by Alice Von Hildebrand
Confessions (c. 397)

James Waddel Alexander photo
Henry George photo
Josh Homme photo

“And the fact of the matter is that everyone should play music because it's such a beautiful gift. It's my religion. But maybe not everyone should play it in front of me. It's okay to play music in your rocking chair or whatever.”

Josh Homme (1973) American musician

Reported in Jay Babcock, " JOSHUA HOMME: People say [record] labels are evil. No, they’re just lame. http://www.arthurmag.com/2007/12/04/josh-homme-people-say-labels-are-evil-no-theyre-just-lame/", Arthur Magazine (December 4, 2007).

Adrianne Wadewitz photo

“She really was a person who cared very much about others. She worked for justice and inclusion and making sure that women's voices were heard. She wasn't willing to just accept the world as we were told it was, but worked to help make it more beautiful. I am very grateful for her bringing that into my life.”

Adrianne Wadewitz (1977–2014) academic and Wikipedian

Molly Vetter, friend of Wadewitz — quoted in: Wetzel, Diane. (April 23, 2014). "NP grad, Wikipedia editor dies in Calif." http://www.nptelegraph.com/news/np-grad-wikipedia-editor-dies-in-calif/article_c7be4462-ab39-53ad-b3e8-9055b51d3bdf.html NPTelegraph.com. North Platte, Nebraska. — and: Wetzel, Diane (April 23, 2014). "North Platte grad, 37, Wikipedia editor, dies in climbing fall" http://www.omaha.com/article/20140423/NEWS/140429478/1707. Omaha World-Herald (Omaha, Nebraska).
About

Lord Dunsany photo
Gertrude Stein photo
John Gay photo

“In beauty faults conspicuous grow;
The smallest speck is seen on snow.”

John Gay (1685–1732) English poet and playwright

Fable XI, "The Peacock, Turkey, and Goose"
Fables (1727)

Elizabeth Barrett Browning photo

“The beautiful seems right
By force of Beauty, and the feeble wrong
Because of weakness.”

Elizabeth Barrett Browning (1806–1861) English poet, author

Book II.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)

Philip José Farmer photo

“Reader, pray that soon this Iron Age
Will crumble, and Beauty escape the rusting cage.”

Philip José Farmer (1918–2009) American science fiction writer

"Beauty in This Iron Age" in Starlanes #11 (Fall 1953); re-published in Pearls From Peoria (2006)

Anthony Crosland photo

“To say that we must attend meticulously to the environmental case does not mean that we must go to the other extreme and wholly neglect the economic case. Here we must beware of some of our friends. For parts of the conservationist lobby would do precisely this. Their approach is hostile to growth in principle and indifferent to the needs of ordinary people. It has a manifest class bias, and reflects a set of middle and upper class value judgements. Its champions are often kindly and dedicated people. But they are affluent and fundamentally, though of course not consciously, they want to kick the ladder down behind them. They are highly selective in their concern, being militant mainly about threats to rural peace and wildlife and well loved beauty spots: they are little concerned with the far more desperate problem of the urban environment in which 80 per cent of our fellow citizens live…As I wrote many years ago, those enjoying an above average standard of living should be chary of admonishing those less fortunate on the perils of material riches. Since we have many less fortunate citizens, we cannot accept a view of the environment which is essentially elitist, protectionist and anti-growth. We must make our own value judgement based on socialist objectives: and that judgement must…be that growth is vital, and that its benefits far outweigh its costs.”

Anthony Crosland (1918–1977) British politician

'Class hypocrisy of the conservationists', The Times (8 January 1971), p. 10
An extract from the Fabian pamphlet A Social Democratic Britain.

Jack Vance photo

“A single question remained, the age-old cry of anguish: “How could one so beautiful be so base?””

Source: Lyonesse Trilogy (1983-1989), The Green Pearl (1985), Chapter 6, section 1 (p. 434)

Courtney Love photo

“The beauty of behaviour consists in the manner more than the matter of your discourse.”

James Burgh (1714–1775) British politician

The Dignity of Human Nature (1754)

Gerhard Richter photo
John Muir photo

“I wish I had space to write more of the surpassing beauty of this favorite spruce. … The deer love to lie down beneath its spreading branches; bright streams from the snow that is always near ripple through its groves, and bryanthus spreads precious carpets in its shade. But the best words only hint its charms. Come to the mountains and see.”

John Muir (1838–1914) Scottish-born American naturalist and author

[Concerning the Hemlock Spruce, now called Mountain Hemlock http://plants.usda.gov/java/profile?symbol=TSME:]
Source: 1890s, The Mountains of California (1894), chapter 8: The Forests

Uma Thurman photo
Marcus Tullius Cicero photo

“Must I not here express my wonder that any one should exist who persuades himself that there are certain solid and indivisible particles carried along by their own impulse and weight, and that a universe so beautiful and so admirably arrayed is formed from the accidental concourse of those particles? I do not understand why the man who supposes that to have been possible should not also think that if a countless number of the forms of the one and twenty letters, whether in gold or any other material, were to be thrown somewhere, it would be possible, when they had been shaken out upon the ground, for the annals of Ennius to result from them so as to be able to be read consecutively,—a miracle of chance which I incline to think would be impossible even in the case of a single verse.”
Hic ego non mirer esse quemquam, qui sibi persuadeat corpora quaedam solida atque individua vi et gravitate ferri mundumque effici ornatissimum et pulcherrimum ex eorum corporum concursione fortuita? Hoc qui existimat fieri potuisse, non intellego, cur non idem putet, si innumerabiles unius et viginti formae litterarum vel aureae vel qualeslibet aliquo coiciantur, posse ex is in terram excussis annales Enni, ut deinceps legi possint, effici; quod nescio an ne in uno quidem versu possit tantum valere fortuna.

Marcus Tullius Cicero (-106–-43 BC) Roman philosopher and statesman

Book II, section 37
De Natura Deorum – On the Nature of the Gods (45 BC)

Maurice Denis photo

“The profoundness of our emotions comes from the sufficiency of these lines and these colors to explain themselves.... everything is contained in the beauty of the work.”

Maurice Denis (1870–1943) French painter

Quote 1890, from Denis' essay published in the review 'Art et Critique'; as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [13]
In August 1890, Denis consolidated his new ideas and presented them in a famous essay published in the review 'Art et Critique'. In his essay, he termed the new movement 'neo-traditionaism', in opposition to the 'progressism' of the Neo-impressionists, led by Seurat
1890 - 1920

Théophile Gautier photo

“Art for Art's Sake means, for its adepts, the pursuit of pure beauty – without any other consideration.”

L'art pour l'art signifie, pour les adeptes, un travail dégagé de toute préoccupation autre que celle du beau en lui-même.
L'art moderne (Paris: Michel Lévy Frères, 1856) p. 151; F. W. Ruckstull Great Works of Art and What Makes Them Great (New York: Putnam, 1925) p. 299

John Muir photo
Barbara Hepworth photo
Gregory Benford photo
Philip Schaff photo

“He adapted the words to the capacity of the Germans, often at the expense of accuracy. He cared more for the substance than the form. He turned the Hebrew shekel into a Silberling, He used popular alliterative phrases as Geld und Gut, Land und Leute, Rath und That, Stecken und Stab, Dornen und Disteln, matt und müde, gäng und gäbe. He avoided foreign terms which rushed in like a flood with the revival of learning, especially in proper names (as Melanchthon for Schwarzerd, Aurifaber for Goldschmid, Oecolampadius for Hausschein, Camerarius for Kammermeister). He enriched the vocabulary with such beautiful words as holdselig, Gottseligkeit.
Erasmus Alber, a contemporary of Luther, called him the German Cicero, who not only reformed religion, but also the German language.
Luther's version is an idiomatic reproduction of the Bible in the very spirit of the Bible. It brings out the whole wealth, force, and beauty of the German language. It is the first German classic, as King James's version is the first English classic. It anticipated the golden age of German literature as represented by Klopstock, Lessing, Herder, Goethe, Schiller,—all of them Protestants, and more or less indebted to the Luther-Bible for their style. The best authority in Teutonic philology pronounces his language to be the foundation of the new High German dialect on account of its purity and influence, and the Protestant dialect on account of its freedom which conquered even Roman Catholic authors.”

Philip Schaff (1819–1893) American Calvinist theologian

Notable examples of Luther's renderings of Hebrew and Greek words

Yasunari Kawabata photo
André Maurois photo
George Hendrik Breitner photo

“Yesterday it was divinely beautiful [at Scheveningen beach]. These barges lay in dense rows against the slope [of the beach], and between them one walked as between a fancy-built city and from above between all those tarred hulls coal-black, gray, green and white, a deep blue sky.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Gisteren was 't er [op het strand van Scheveningen] goddelijk mooi. Die schuiten lagen in dichte rijen tegen de [strand]-helling en daartussen ging men als tussen een fantastisch gebouwde stad en van boven tussen die geteerde rompen koolzwart, grijs, groen, [en] wit een diepe blauwe lucht.
In Breitner's letter to A.P. van Stolk, nr. 49, Den Haag 17 Dec. 1883; in the RKD-Archive, The Hague; as cited in the master-thesis Van Gogh en Breitner in Den Haag, Helewise Berger, University of Utrecht, The Netherlands, p. 31
In 1881 already Breitner had rendered the surroundings of Scheveningen in the large 'Panorama of Mesdag', assisting Mesdag in this huge project
before 1890

Dogen photo
Henry Wotton photo

“You meaner beauties of the night,
That poorly satisfy our eyes
More by your number than your light;
You common people of the skies,
What are you when the sun shall rise?”

Henry Wotton (1568–1639) English ambassador

On His Mistress, the Queen of Bohemia, stanza 1 (1624). In some versions "moon" replaces "sun". This was printed with music as early as 1624, in Est's "Sixth Set of Books", for example.

André Gide photo
Henry Wadsworth Longfellow photo
Alexej von Jawlensky photo

“We had a very lovely place [in Ascona with his life-companion Marianne Werefkin ] with a garden directly on the lake. It was on the edge of Ascona. Next to it began the Campagna [landscape], and this Campagna was enchantingly beautiful, like a dream.”

Alexej von Jawlensky (1864–1941) Russian painter

quote from Jawlensky's memoirs, 1936/41: Lebenserinnerungen (Memories) p. 119; as cited in Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War http://www.jstor.org/stable/10.1163/j.ctt1w8h0q1.10, by Isabel Wünsche, p. 66
Jawlensky was very pleased with this move from Zurich to Ascona; Werefkin arranged this family's move after Jawlensky fell gravely ill with the Spanish flu. A few years later Jawlensky would leave here.
1936 - 1941

Paramahansa Yogananda photo

“It is the call of the beauty — robed ones
To worship the great Beauty.
It is the call of God
Through silent intelligences
And starburst of feelings.”

Paramahansa Yogananda (1893–1952) Yogi, a guru of Kriya Yoga and founder of Self-Realization Fellowship

Songs of the Soul by Paramahansa Yogananda, Quotes drawn from the poem "What is Love?"

Joseph Warton photo
O. Henry photo

“It was beautiful and simple as all truly great swindles are.”

O. Henry (1862–1910) American short story writer

"The Octopus Marooned"
The Gentle Grafter (1908)

Clive Staples Lewis photo

“When I attempted, a few minutes ago, to describe our spiritual longings, I was omitting one of their most curious characteristics. We usually notice it just as the moment of vision dies away, as the music ends or as the landscape loses the celestial light. What we feel then has been well described by Keats as “the journey homeward to habitual self.” You know what I mean. For a few minutes we have had the illusion of belonging to that world. Now we wake to find that it is no such thing. We have been mere spectators. Beauty has smiled, but not to welcome us; her face was turned in our direction, but not to see us. We have not been accepted, welcomed, or taken into the dance. We may go when we please, we may stay if we can: “Nobody marks us.” A scientist may reply that since most of the things we call beautiful are inanimate, it is not very surprising that they take no notice of us. That, of course, is true. It is not the physical objects that I am speaking of, but that indescribable something of which they become for a moment the messengers. And part of the bitterness which mixes with the sweetness of that message is due to the fact that it so seldom seems to be a message intended for us but rather something we have overheard. By bitterness I mean pain, not resentment. We should hardly dare to ask that any notice be taken of ourselves. But we pine. The sense that in this universe we are treated as strangers, the longing to be acknowledged, to meet with some response, to bridge some chasm that yawns between us and reality, is part of our inconsolable secret. And surely, from this point of view, the promise of glory, in the sense described, becomes highly relevant to our deep desire. For glory meant good report with God, acceptance by God, response, acknowledgment, and welcome into the heart of things. The door on which we have been knocking all our lives will open at last.”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

The Weight of Glory (1949)

Lev Artsimovich photo

“Our relationships as experimentalists with theoretical physicists should be like those with a beautiful woman – we should accept with gratitude any favours she offers, but we should not expect too much nor believe all that is said.”

Lev Artsimovich (1909–1973) Soviet physicist

as quoted by E.E. Kintner at the Artsimovich Memorial Session of the Seventh International Conference on Plasma Physics and Controlled Nuclear Fusion Research

Gautama Buddha photo
Letitia Elizabeth Landon photo
Haruki Murakami photo
Harriet Elizabeth Prescott Spofford photo

“Beauty vanishes like a vapor,
Preach the men of musty morals.”

Harriet Elizabeth Prescott Spofford (1835–1921) American author

Evanescence (1900).

Ilana Mercer photo
Björk photo
William Hazlitt photo
Jozef Israëls photo

“It certainly will please you to read that after my small painting ['First Love', c. 1856] what you have seen in Rotterdam, a large lithography is being made now by Lord Mouilleron, France's first lithographer… It becomes very beautiful. (translation from original Dutch text: Fons Heijnsbroek).”

Jozef Israëls (1824–1911) Dutch painter

version in original Dutch (citaat uit de brief van Jozef Israëls in het Nederlands): Het zal u zeker plaisier doen te vernemen dat naar mijn schilderijtje ['Eerste Liefde', c. 1856] welke gij in Rotterdam gezien hebt eene groote lithografie vervaardigd wordt en wel door Heer Mouilleron, Frankrijks eerste lithograaf.. .Hij wordt zeer mooi.
Quote in his letter from Amsterdam, 1857, to publisher in The Hague; from LTK 1795, XIII nr. 140, University Library of Leiden
Mouilleron was making the lithography at the studio of Israëls on the Rozengracht in Amsterdam, under the eyes of the painter himself
Quotes of Jozef Israels, 1840 - 1870

Boris Johnson photo
Nanak photo
Jean Dubuffet photo

“People Are Much More Beautiful Than They Think: Long Live Their True Face.”

Jean Dubuffet (1901–1985) sculptor from France

1940's

George Hendrik Breitner photo

“I started reading Flaubert's 'Salambô'. The first chapter was very strong. I prefer Flaubert above Zola, the Concourt even more. No doubt you know the Concourts, Edm. and Jules, two brothers. 'Manette Salomon' is one of their most beautiful creations. If you could read that, I believe you do me and yourself a great pleasure. The type of Chassagnol, the man who understands so much about Art - yes, he has the purest ideas on art of all - I find [him] adorable. He understands everything and that's why he can not be an artist himself or the greatest. I recommend that book to anyone, layman or painter and I will buy it myself.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Ik ben begonnen met Flaubert's Salambô te lezen. 't eerste hoofdstuk was verduveld kranig. Flaubert bevalt me beter dan Zola, de Concourt nog meer. Zonder twijfel kent U de Concourt, Edm. en Jules, twee broers. Manette Salomon vind ik een van hun mooiste scheppingen. Als U dat eens las zou U mij en Uzelf geloof ik een groot genoegen doen. De type van Chassagnol de man die zooveel begrijpt van Kunst, ja er 't zuiverste denkbeeld over heeft van allen, vind ik aanbiddelijk. Hij begrijpt alles en kan daardoor zelf geen kunstenaar zijn of de grootste. Ik beveel dat boek aan iedereen aan, leek of schilder en zal 't me koopen.
Quote of Breitner in his letter to A.P. van Stolk, 15 Nov. 1881; as cited in Breitner en Parijs – master-thesis 9928758 https://dspace.library.uu.nl/handle/1874/8382], by Jacobine Wieringa, Faculty of Humanities Theses, Utrecht, (translation from the original Dutch, Fons Heijnsbroek) pp. 10-11
before 1890

Hayley Jensen photo

“Dicko: You looked beautiful and I enjoyed that. I didn’t think that you over thought that at all.”

Hayley Jensen (1983) Australian singer

Australian Idol, Final Performances, Final 4

John Greenleaf Whittier photo
George MacDonald photo
Anne Morrow Lindbergh photo
Wallace Stevens photo

“Death is the mother of beauty”

"Sunday Morning"
Harmonium (1923)

Peter Paul Rubens photo

“The light falls so unfavorably on the altar that one can hardly discern the figures or enjoy the beauty of color and the delicacy of the heads and draperies which I executed with great care from nature and completely successfully according to the judgement of all. Therefore, seeing that all the merit in the work is thrown away and since I cannot obtain the honor due my efforts unless the results can be seen, I do not think I will unveil it.”

Peter Paul Rubens (1577–1640) Flemish painter

Quote of Rubens, in his letter to Count Annibale Chieppio (minister of the Duke of Mantua), February 2, 1608; as cited in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 130 (LPPR, 42)
Rubens reports in this quote about the overdoses of light, falling upon his recently-made altar-painting 'Virgin and Child Adored by Angels', (Rome, Santa Maria, Vallicella), 1607 which is fading the colors for the viewer.
1605 - 1625

Jonathan Richardson photo
Felicia Hemans photo

“The stately Homes of England,
How beautiful they stand!
Amidst their tall ancestral trees,
O'er all the pleasant land.”

Felicia Hemans (1793–1835) English poet

The Homes of England http://digital.library.upenn.edu/women/hemans/records/homes.html, st. 1 (1828).

Christopher Hitchens photo
Robert E. Howard photo
Gideon Mantell photo
Richard Stallman photo

“Snow is so beautiful, it doesn't have to be useful.”

Richard Stallman (1953) American software freedom activist, short story writer and computer programmer, founder of the GNU project

Parliament Hill Speech, Ottawa, Canada, (2 June 2009)
2000s

Nicholas Roerich photo

“The evolution of the New Era rests on the cornerstone of Knowledge and Beauty.”

Nicholas Roerich (1874–1947) Russian painter, writer, archaeologist, theosophist, enlightener, philosopher

Realm of Light Book II (1931) Epigraph

Roger Raveel photo

“As far as my exhibition concerned [opening was 8 May 1954, in Ghent].... there is however a recent and important painting hanging there 'Man met Boompje' [Man with tree, later titled 'The Gardener] - permettez-moi - with beautiful refracting matters and color: lemon-yellow spots and lacquerish black on white, (face) transparent pure light-blue with a very thin layer glacis over it (in the small wall) and strong-blue painted vertical line. Yellow brown and mauve brush-sweeps with small red dashes over it (for the small tree), and further a lot of beautiful white.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Wat nu mijn tentoonstelling betreft (opening was 8 mei 1954, in Gent].. .er is echter een recent en belangrijk werk bij n.l. 'Man met boompje' [later 'De Tuinman' getiteld] - permettez-moi- met mooie brekende materies en kleur: citroengele vlekken en lakachtig zwarte op wit, (gezicht) transparante zuivere lichte blauwe met een heel dunne glacis erover (in muurtje) en sterk blauwe geschilderde vertikale lijn. Geelbruine en mauve vegen met daarop kleine rode streepjes (voor boompje) verder veel mooi wit.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, May 1954; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 164 (translation: Fons Heijnsbroek)
1945 - 1960

Letitia Elizabeth Landon photo
Khalil Gibran photo

“Yesterday we obeyed kings and bent our necks before emperors. But today we kneel only to truth, follow only beauty, and obey only love.”

Khalil Gibran (1883–1931) Lebanese artist, poet, and writer

Children of Gods, Scions of Apes
The Vision: Reflections on the Way of the Soul (1994)

Van Jones photo
Syama Prasad Mookerjee photo
Larry Wall photo
Emilio Insolera photo

“You can see the existence of these beautiful signed languages which are incredibly visual, and they require space, they require space to grow.”

Emilio Insolera (1979) Actor and film producer

Transcript of Emilio Insolera on BBC Radio (October 9, 2017)

Kurien Kunnumpuram photo

“It is our Christian task to make ourselves increasingly more free. As one of the beautiful hymns has it: “It is a long road to freedom”. There is a great danger that we will give in to external force or internal compulsion, thus jeopardizing our freedom.”

Kurien Kunnumpuram (1931–2018) Indian theologian

Kunnumpuram, Kurien, 2011 “Theological Exploration,” Jnanadeepa: Pune Journal of Religious Studies 14/2 (July-Dec 2011)
On God

Francesco Petrarca photo

“Your high beauty, which has no equal in the world, is painful to you except insofar as it seems to adorn and set off your lovely treasure of chastity.”

L'alta beltà ch'al mondo non à pare
noia t'è, se non quanto il bel thesoro
di castità par ch'ella adorni et fregi.
Canzone 263, st. 4
Il Canzoniere (c. 1351–1353), To Laura in Life

Frances Burney photo
Martin Amis photo
Martin Gardner photo

“Mathematical magic combines the beauty of mathematical structure with the entertainment value of a trick.”

Martin Gardner (1914–2010) recreational mathematician and philosopher

Mathematics, Magic, and Mystery https://books.google.com/books?id=-kOFBQAAQBAJ&pg=PR11#v=onepage&q=%22Mathematical%20magic%20combines%22%23v%3Dsnippet&f=false (1956), p. ix

Erik Axel Karlfeldt photo

“It whispers; all is waiting here
Kept safe for thee, year after year,
Beautiful songs in thousands;
Where hast thou been, where, where?”

Erik Axel Karlfeldt (1864–1931) Swedish poet

Attributed in Dag Hammarskjöld, Markings, tr. Leif Sjoberg and W. H. Auden (1964), journal entry for (October 1, 1957).

Gardiner Spring photo
Erick Avari photo
Conor Oberst photo
Washington Irving photo
Diogenes Laërtius photo
Ben Gibbard photo

“You touch her skin
And then you think
That she is beautiful
But she don't mean a thing to me”

Ben Gibbard (1976) American singer, songwriter and guitarist

Tiny Vessels
Transatlanticism (2003)

Matt Ridley photo
William Winwood Reade photo
Victor Villaseñor photo
Jozef Israëls photo

“That's how it is
One day two paintings were hanging,
Right opposite each other
Really colorful and beautiful the one
And the other simple and honest
* That simplicity and truth are the characteristics
of science and of art.
Well, people can not understand that.
It was to the tinsel that they gave their favor.”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (kort gedicht van Jozef Israëls, in het Nederlands):
Zoo is het
Er hingen eens twee schilderijen,
Juist vlak tegenover elkaar
Regt kleurig en schitterend de eene
En d'ander eenvoudig en waar
** Dat eenvoud en waarheid het kenmerk
Van wetenschap is en van kunst
Och, dat kan het volk niet begrijpen
En [aan] 't klatergoud schonk het zijn gunst.
A short poem of Israëls, written in his letter from The Hague, 13 Dec. 1876 to art-seller Pilgeram & Lefèvre in London; from collection of Fondation Custodia, Institut Neérlandais Paris, input no. 1971-A 506
Quotes of Jozef Israels, 1871 - 1900

Jiddu Krishnamurti photo
Charlotte Salomon photo

“.. And with dream awakened eyes she saw all the beauty around her, saw the sea, felt the sun, and knew she had to vanish for a while from the human surface and make every sacrifice in order to create her world anew out of the depths.
And from that came
Life or Theater???”

Charlotte Salomon (1917–1943) German painter

original German language, Zitat von Charlotte Salomon: ..und sie sah – mit wachgeträumten Augen all die Schönheit um sich her – sah das Meer spürte die Sonne und wusste: sie musste für eine Zeit von der menschlichen Oberfläche verschwinden und dafür alle Opfer bringen – um sich aus der Tiefe ihre Welt neu zu schaffen
Und dabei entstand<brdas Leben oder das Theater???
Quote, probably 1943, in Charlotte Salomon: Life? or Theatre?, (ed.) Judith C. E. Belinfante et al, Royal Academy of Arts, London, 1998, ISBN 0-900946-66-0, p. 38; as cited om Wikipedia
these are the concluding words of the last overlay: JHM 4924-02 https://charlotte.jck.nl/detail/M004924/part/character/theme/keyword/M004924, of the epilogue - quoting ideas of her former love in Germany Alfred Wolfsohn, she called him 'Amadeus Daberlohn' in her paintings

William Julius Mickle photo
Paula Modersohn-Becker photo

“Now it's almost as beautiful as Christmas [then Paula suddenly fell to the floor]…. What a pity! [her last words].”

Paula Modersohn-Becker (1876–1907) German artist

as quoted in: Paula Modersohn-Becker, the challenges of pregnancy and the weight of tradition, by Giorgina B. Piccoli and Scott L. Karakas; published in: 'Philosophy, Ethics, and Humanities in Medicine', 6 June 2011, p. 1; as quoted in: M. Bohlmann-Modersohn: Paula Modersohn-Becker: eine Biographie mit Briefen, Albrecht Knaus; Berlin 1995, p. 280
Paula had given birth to her (first) child, Mathilde, on 2 November 1907. Her sudden death, on 21 November 1907, due to thromboembolism, occurred almost immediately after she was allowed to leave her bed for the first time following her delivery; her biographers recount that she combed her hair, adorned it with red roses received as presents, and slowly walked to the living room, where her daughter was in her crib. Paula took the young daughter Mathilde (later called Tille) in her arms and fell down, suddenly.
1906 + 1907