Quotes about colors
page 12

“My whole intention in painting is to make a thing poetical; but not poetical in a literary sense. I want something that evokes mood, a background, a stage set for certain characters that are playing certain parts. When I paint I do not consider myself an abstractionist in the sense that I'm trying to create beautiful forms that fit together like a puzzle. The things in my painting are intended to strike something that is an emotional involvement – that has to do with the human personality and all the mysteries of life, not simply colors or abstract balances. To me, it's all reality.”

William Baziotes (1912–1963) American painter

Quote from An interview with William Baziotes, eds. P. Franks and M. White, Perspective no. 2, Hunter College New York (1956-57), pp. 27, 29-30
1950s

Life, Beauty, Mood, Reality

“Proportion applies to sculpture as to painting; perspective determines the contour; chiaroscuro gives relief through the disposition of lights and shadows in their relationship with the background; color gives the appearance of life... The colorists, the men who unite all the phases of painting, have to establish, at once and from the beginning, everything that is proper and essential to their art. They have to mass things in with color, even as the sculptor does with clay, marble or stone; their sketch, like that of the sculptor, must also render proportion, perspective effect, and color.”

Eugène Delacroix (1798–1863) French painter

15 April 1851, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 230 – 231
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Life, Men, Art, Light

“The colors…oh, I see the most fantastic things. Do you realize when people just close their eyes what they see? It's unbelievable. Colors and things, forms of every sort. I wonder if that happens for everybody?”

Edie Sedgwick (1943–1971) Socialite, actress, model

Edie : Girl On Fire (2006)

People

“It is the subjects which might be imitated by pieces of paper of varying depth of color laid one over the other, which are the subjects that will give more readily the greater satisfaction.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Some examples in composition, p. 60

“I have sometimes come upon the Iguana, the big lizard, as they were sunning themselves upon a flat stone in a river-bed. They are not pretty in shape, but nothing can be imagined more beautiful than their colouring. They shine like a heap of precious stones or like a pane cut out of an old church window. When, as you approach, they swish away, there is a flash of azure, green and purple over the stones, the color seems to be standing behind them in the air, like a comet's luminous tail.
Once I shot an Iguana. I thought that I should be able to make some pretty things from his skin. A strange thing happened then, that I have never afterwards forgotten. As I went up to him, where he was lying dead upon his stone, and actually while I was walking the few steps, he faded and grew pale, all colour died out of him as in one long sigh, and by the time that I touched him he was grey and dull like a lump of concrete. It was the live impetuous blood pulsating within the animal, which had radiated out all that glow and splendor. Now that the flame was put out, and the soul had flown, the Iguana was as dead as a sandbag.”

Karen Blixen book Out of Africa

Out of Africa (1937)

Beauty, Soul, Imagination, Lying

“No wonder Muddlers initially think that becoming a vegetarian is like taking a vow of culinary abstinence mixed with voluntary poverty.
Of course, in time Muddlers discover that there is an incredibly delicious, colorful, and nutritious animal-free cuisine out there to be discovered, a menu of possibilities that includes foods from every nation and ethnicity in the world. It is the great new food we gain, not the customary old food we lose, that is the real surprise, something all of us have to discover for ourselves.”

Tom Regan book Empty Cages

Source: Empty Cages (2004), Ch. 6

World, Food, Thinking, Time

“A micromutation can produce what Goldschmidt would have described as macromutation leading to macroevolution. Since mutations in homeobox genes are inherited in the same way that earlier fruit-fly population geneticists understood the inheritance of the alleles for wing length or bristle number, we can appreciate that evolutionarily significant novelty—which, in turn, could result in the emergence of a new species—can be passed on from parent to child as easily and simply as eye color.”

Jeffrey H. Schwartz (1948) American anthropologist

p, 125
Sudden Origins: Fossils, Genes, and the Emergence of Species (1999)

Way, Parent, Flying

“We tend to discount a lot of meaning that goes on in life that's non-verbal. Color can convey a total range of mood and expression, of one's experience in life, without having to give it descriptive or literary qualities.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Life, Mood

“.. When I have made some drawings I see them immediately in front of my eyes, enlarged [and] in colors..”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): ..Als ik eenige teekeningen gemaakt heb zie ik ze ook direct in kleuren [en] vergroot voor me..
In a letter (nr. 356) to Bastiaan Kist, 9 Sept. 1943; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 176
1940's

Drawing

“.. I did a great deal of work [in 1903, Normandy]. And I understood how to transfer nature into colors appropriate to the odor of my soul. I painted a large number of landscapes there, bushes and Breton heads from my window. The pictures were glowing with color. And my inner self was contended.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote of Jawlensky, c. 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 114
1900 - 1935

Soul, Nature, Painting

“An employer therefore has a property right to prefer whom he will, and he can prefer whom he will in terms of color, creed, race, or national origin.”

Rousas John Rushdoony (1916–2001) American theologian

Writings, The Foundations of Social Order (1968)

“The feelings and images aroused by the visible world are very difficult to express or are perhaps inexpressible with words because they are determined by forms, colors, space and light.”

Giorgio Morandi (1890–1964) Italian painter

in an interview with L. Vitali, 1957; as quoted in Morandi 1894 – 1964, published by Museo d'Arte Moderna di Bologna, ed: M. C. Bandera & R. Miracco - 2008; p. 295
1945 - 1964

World, Feeling, Light

“When I was a child, I spent all my spare time looking at birds and insects (beetles). My color use, and the object quality of the 'painting', and the use of fragmentation is closer to birds and beetles and fish, than it is to De Stijl or the Constructivists.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Bird, Fish, Time, Painting

“Instead of joining us on the right side of history, all Republicans have come up with is this slow down, stop everything, let's start over. You think you've heard these same excuses before, you're right. When this country belatedly recognized the wrongs of slavery, there were those who dug in their heels and said, slow down, it's too early. Let's wait. Things aren't bad enough. When women spoke up for the right to speak up, they wanted to vote, some insisted slow down, there will be a better day to do that. The day isn't quite right. When this body was on the verge of guaranteeing equal civil rights to everyone, regardless of the color of their skin, some senators resorted to the same filibuster threats that we hear today. More recently, when chairman Chris Dodd of Connecticut, one of the people who will go down as a chief champion of the bill before us today, said that Americans should be able to take care of their families without fear of losing their jobs, you heard the same old excuses, seven years of fighting and more than one presidential veto, it was slow down, stop everything, start over. History is repeating itself before our eyes. There are now those who don't think it is the right time to reform health care. If not now, when, madam president? But the reality for many that feel that way, it will never, never be a good time to reform health care.”

Harry Reid (1939) American politician

On the Senate floor, during a debate on health care reform, December 7, 2009 Reid Compares Health Reform Bill with Slavery, Suffrage - George's Bottom Line, abcnews.com, December 7, 2009, 2009-12-08 http://blogs.abcnews.com/george/2009/12/reid-compares-health-reform-bill-with-slavery-suffrage.html,

Women, People, Health, Fear

“You know that weird cat dance that cats do late at night where they go completely stir-crazy and they run around the apartment and you don't know what the hell they're doing? I often feel like that. I dye my hair constantly because I can't sit still with one hair color. That's a perfect example of trying to satisfy some hunger. I want change; I want constant stimuli. I love to fly because I love the high. All of these are like itch kind of things. Sometimes I need to completely get away. I'll get in the car and I'll drive for as long as I can drive. Sometimes it's a sexual urge. I don't need to explain that; it's pretty self-explanatory. It's a craving, a desire. Sometimes it's food. I'm just a giant, big ol' consumer. I want, I need, I crave, I can't say no. I have no control and I'm a complete control freak. It's just crazy”

Colleen Fitzpatrick (1972) American singer and actress

laughs
Asked where her "itches" come from
Attributed

Love, Hunger, Food, Cars

“I was thrilled to find America so rich with so many new motives to be translated into a new art. Steel and electricity had created a new world. A new drama had surged from the unmerciful violation of darkness at night, by the violent blaze of electricity and a new polyphony was ringing all around with the scintillating, highly colored lights. The steel had leaped to hyperbolic altitudes and expanded to vast latitudes with the skyscrapers and with bridges made for the conjunction of worlds. A new architecture was created, a new perspective.”

Joseph Stella (1877–1946) American artist

Joseph Stella (1912); As cited in: Metropolitan Museum of Art (1965) American Painting in the Twentieth Century. p. 69

World, Art, Motivation, Light

“James A. Garfield must be our president. I know. Colored man, he is right on our questions, take my word for it. He is a typical American all over. He has shown us how man in the humblest circumstances can grapple with man, rise, and win. He has come from obscurity to fame, and we'll make him more famous. Has burst up through the incrustations that surround the poor, and has shown us how it is possible for an American to rise. He has built the road over which he traveled. He has buffeted the billows of adversity, and tonight, he swims in safety where Hancock, in despair, is going down.”

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

Meeting of Colored Citizens http://books.google.com/books?id=Gss_INMTZQIC&pg=PA71&lpg=PA71&dq=%22He+has+buffeted+the+billows+of+adversity%22&source=bl&ots=AX-fsYd95E&sig=3j4dWH-cdeiSlKtJcFPmSAgLm4c&hl=en&sa=X&ei=CgvWU8GHGrO-sQTv0YH4BA&ved=0CB8Q6AEwAA#v=onepage&q=%22He%20has%20buffeted%20the%20billows%20of%20adversity%22&f=false (25 October 1880), Cooper Institute, New York. 1880s, Meeting of Colored Citizens (1880)

Travel, Question, Despair

“I got the idea to paint people, in the way I see them. From one face I take to my own idea some very characteristic features of it and then I make of the whole a picture in colors and lines, in the way how I meet that person. The whole thing becomes not at all a portrait in the usual sense... I have tried to make types, but will built in more and more personal qualities and all that kind of things... Everything will be figured out fully abstract of course, it is just a personal feeling and no system at all.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Meine Idee ist es die Menschen zu malen, wie ich sie sehe. Ich nehme aus einem Gesicht einige meiner Ansicht nach am meisten sprechende Züge und ich mache dann vom ganzen ein Bild in den Farben und Linien, wie die Person mir entgegentritt. Das Ganze ist gar kein Porträt im gewöhnlichen Sinne.. .Ich habe mich bemüht, jetz noch Typen zu machen und werde mehr und mehr persönliche Eigenschaften und alle mögliche hereinbringen.. .Alles muss man sich natürlich ganz abstrakt denken, es ist ein persönliches Gefühl und gar kein System.
in a letter to Herwarth Walden, 6 Feb. 1918; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 20
1910's

People, Way, Feeling, Idea

“Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the three primary colours and their derivatives.”

Camille Pissarro (1830–1903) French painter

As quoted in Cezanne his Life and Art, Jack Linssey, – Evelyn, Adams and Mackay, London, 1969, p. 154-55
Pissarro 'guided' the wild Cézanne for a few years in painting landscape; for a decade or so in the mid-19th century they often worked side by side and influenced each other
1870's

Painting

“I went for a walk through the streets. My God, here I was again, roaming the town. I looked at the faces around me, and I knew mine was like theirs. Faces with the blood drained away, tight faces, worried, lost. Faces like flowers torn from their roots and stuffed into a pretty vase, the colors draining fast. I had to get away from that town.”

John Fante book Ask the Dust

Source: Ask the Dust (1939), Chapter Eighteen

God, Flowers

“this complex form of realism.... totally destroys the integrity of the subject-matter... The abstract colors and forms that we portray belong to Universe outside time and space.”

Gino Severini (1883–1966) Italian painter

In his manifesto 'The Plastic Analogies of Dynanism', c. 1914; as quoted in Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 218

Universe, Time

“To paint an autumn landscape I will not try to remember what colors suit this season, I will only be inspired by the sensation that the season gives me; the icy clearness of the sour blue sky will express the season just as well as the tonalities of the leaves. My sensation itself may vary, the autumn may be soft and warm like a protracted summer or quite cool with a cold sky and lemon yellow trees that give a chilly impression and announce winter.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 412

Autumn, Tree, Winter, Summer

“I am hard at work, at least I work as much as the weather permits. - I began a work the motif of which is the river bank in the direction of St. Paul's Church. Looking towards Rouen I have before me all the houses on the quays lighted by the morning sun, in the background the stone bridge, to the left the island with its houses, factories, boats, launches, to the right a mass of pinnaces of all colors… Yesterday, not having the sun, I began another work on the same motif in grey weather, only I looked more to the right [603]. I must leave you for my motif. I have a room on the street. I shall start on a view of the street in fog for it has been foggy every morning until eleven o'clock—noon. It should be interesting, the square in the fog, the tramways, the goings and comings..”

Camille Pissarro (1830–1903) French painter

Quote in a letter, Rouen 11 October 1883, to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 40
1880's

Light, Sun, Housing, Weather

“But ne'er the subject of your work proclaim
In its own colors and its genuine name;
Let it by distant tokens be conveyed,
And wrapped in other words, and covered in their shade.
At last the subject from the friendly shroud
Bursts out, and shines the brighter from the cloud;
Then the dissolving darkness breaks away,
And every object glares in open day.
Thus great Ulysses' toils were I to choose
For the main theme that should employ my Muse,
By his long labors of immortal fame
Should shine my hero, but conceal his name;
As one who, lost at sea, had nations seen,
And marked their towns, their manners, and their men,
Since Troy was leveled to the dust by Greece—
Till a few lines epitomized the piece.”
Jam vero cum rem propones, nomine nunquam Prodere conveniet manifesto: semper opertis Indiciis, longe et verborum ambage petita Significant, umbraque obducunt: inde tamen, ceu Sublustri e nebula, rerum tralucet imago Clarius, et certis datur omnia cernere signis. Hinc si dura mihi passus dicendus Ulysses, Non ilium vero memorabo nomine, sed qui Et mores hominum multorum vidit et urbes Naufragus, eversae post saeva incendia Trojae, Addam alia, angustis complectens omnia dictis.

Marco Girolamo Vida (1485–1566) Italian bishop

Book II, line 40
De Arte Poetica (1527)

Men, Distant, Sea

“In 1864, black Union troops were involved in operations against Lee's army outside Richmond and Petersburg, and some of them are taken prisoner. Lee puts them to work on Confederate entrenchments that are in Union free-fire zones. When Grant gets wind of this, he threatens to put Confederate prisoners to work on Union entrenchments under Confederate fire unless Lee pulls out. So Grant was willing to embrace an eye-for-an-eye, tooth-for-a-tooth retaliation policy based upon Confederate treatment of black prisoners. For Grant, it was the color of the uniform, not the skin, that mattered.”

Brooks D. Simpson (1957) American historian

2000s, Intelligence Report: Rebels With A Cause (2000)

“I've got no respect for a young man who won't join the colors.”

Nathan Bedford Forrest (1821–1877) Confederate Army general

As quoted in May I Quote You, General Forrest? by Randall Bedwell.
1860s

“To be drunk in Moscow is like having a relatively common hair color. Can you fault a man for the color of his hair? I think not.”

Yurii Andrukhovych book The Moscoviad

The Moscoviad
Source: The Moscoviad. Yuri Andrukhovych. Spuyten Duyvil, New York City. ISBN1933132523, p. 107

Thinking

“In the desert, initially, everywhere is like everywhere else—sky, sand, mountains. So far, this was the extent of what I’d seen in my involuntary roost. Then the day began to ebb, the world turned to topaz and gold, and the color of the sky seemed to sink away into the disc of the sun. I found I really could touch the beauty of it then, as I had touched its beauty so long ago when I was free to travel where I wished, and the city still owned me. Now, tinged with my sorrow, the loveliness was bittersweet, but strong as wine.”

Tanith Lee book Drinking Sapphire Wine

Part 2, Chapter 3 (pp. 69-70)
Drinking Sapphire Wine (1977)

World, Beauty, Travel, Mountain

“Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, p. 25
Quotes of Fernand Leger, 1920's

Question

“Consistent with Martin Luther King's vision, the government should stop color-coding its citizens.”

Dinesh D'Souza (1961) Indian-American political commentator, filmmaker, author

"As I See It", in Forbes Vol. 158, no. 13 (2 December 1996), p. 48.

“I grew up with the colors of war -- the red colors of fire and blood, the brown tones of earth as it explodes in our faces and the piercing silver of an exploded missile, so bright that nothing can protect your eyes from it. I grew up with the sounds of war -- the staccato sounds of gunfire, the wrenching booms of explosions, ominous drones of jets flying overhead and the wailing warning sounds of sirens. These are the sounds you would expect, but they are also the sounds of dissonant concerts of a flock of birds screeching in the night, the high-pitched honest cries of children and the thunderous, unbearable silence. "War," a friend of mine said, "is not about sound at all. It is actually about silence, the silence of humanity."”

Zainab Salbi (1969) Iraqi American author, women's rights activist

Speech at TEDGlobal 2010

War, Children, Bird, Silence

“The quiet of this afternoon is strange, haunting, awful;
Hear that buzzing in the hot grass, coming from live things; and those crows' cries from somewhere;
There is a sluggish, sad brook near here, too.
The bird is gone now, so graceful, fair as it was,
And the sky has nothing but the brightness of air in it.
The clean color of air.
The sun makes it be afternoon here;…”

Eli Siegel (1902–1978) Latvian-American poet, philosopher

Extract from the title poem Hot Afternoons Have Been in Montana [Hot Afternoons Have Been in Montana: Poems, Defintion Press, (1957)]

Sadness, Bird, Grass, Sun

“But it is not alone the harmony of music which has such a power over the mind. The harmony of colors, every art and science, has the same power. Even the most common craft, and the most prosaic of all prose, the chase after the dollar, may take possession of a man’s soul and prostrate him in adoration before its idol.”

Joseph Dietzgen (1828–1888) german philosopher

Letter 3
Letters on Logic: Especially Democratic-Proletarian Logic (1906)

Art, Music, Soul, Science

“To a linguist, the phenomenon is familiar: the euphemism treadmill. People invent new "polite" words to refer to emotionally laden or distasteful things, but the euphemism becomes tainted by association and the new one that must be found acquires its own negative connotations. "Water closet" becomes "toilet" (originally a term for any body care, as in "toilet kit"), which becomes "bathroom," which becomes "rest room," which becomes "lavatory." … The euphemism treadmill shows that concepts, not words, are in charge. Give a concept a new name, and the name becomes colored by the concept; the concept does not become freshened by the name.”

Steven Pinker (1954) psychologist, linguist, author

We will know we have achieved equality and mutual respect when names for minorities stay put. The game of the name, Baltimore Sun, 1994-04-06, http://pinker.wjh.harvard.edu/articles/media/1994_04_03_newyorktimes.pdf, 1994-04-03, 2011-01-19 http://articles.baltimoresun.com/1994-04-06/news/1994096202_1_dutch-words-language,

People, Water

“center>With special thanks
2 Clare Fischer 4 Making Brighter the Colors
Black and White

Prince (1958–2016) American pop, songwriter, musician and actor

From the closing credits of Under the Cherry Moon (1986), and the liner notes of Parade (1986)

“And here I hold that a liberal and brotherly welcome to all who are likely to come to the United States is the only wise policy which this nation can adopt. It has been thoughtfully observed that every nation, owing to its peculiar character and composition, has a definite mission in the world. What that mission is, and what policy is best adapted to assist in its fulfillment, is the business of its people and its statesmen to know, and knowing, to make a noble use of this knowledge. I need not stop here to name or describe the missions of other or more ancient nationalities. Our seems plain and unmistakable. Our geographical position, our relation to the outside world, our fundamental principles of government, world-embracing in their scope and character, our vast resources, requiring all manner of labor to develop them, and our already existing composite population, all conspire to one grand end, and that is, to make us the perfect national illustration of the unity and dignity of the human family that the world has ever seen. In whatever else other nations may have been great and grand, our greatness and grandeur will be found in the faithful application of the principle of perfect civil equality to the people of all races and of all creeds. We are not only bound to this position by our organic structure and by our revolutionary antecedents, but by the genius of our people. Gathered here from all quarters of the globe, by a common aspiration for national liberty as against caste, divine right govern and privileged classes, it would be unwise to be found fighting against ourselves and among ourselves, it would be unadvised to attempt to set up any one race above another, or one religion above another, or prescribe any on account of race, color or creed.”

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

1860s, Our Composite Nationality (1869)

People, World, Family, Faith

“The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real… for a moment at least… that long magic moment before we wake. Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end. Reality is the strip malls of Burbank, the smoke-stacks of Cleveland, a parking garage in Newark. Fantasy is the towers of Minas Tirith, the ancient stones of Gormenghast, the halls of Camelot. Fantasy flies on the wings of Icarus, reality on Southwest airlines. Why do our dreams become so much smaller when they finally come true?
We read fantasy to find the colors again, I think. To taste strong spices and hear the song the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever, somewhere south of Oz and north of Shangri-La.
They can keep their heaven. When I die, I'd sooner go to Middle Earth.”

George Raymond Richard Martin (1948) American writer, screenwriter and television producer

The Faces of Fantasy (1996)

Love, Dreams, Thinking, Reality

“You don't know, perhaps, but I will tell you; the brain is the palest of all the internal organs, and the heart the reddest. Whatever comes from the brain carries the hue of the place it came from, and whatever comes from the heart carries the heat and color of its birthplace.”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

Source: The Professor at the Breakfast Table (1859), Ch. VI.

Heart

“I'm dedicating my little story to you; doubtless you will be among the very few who will ever read it. It seems war stories aren't very well received at this point. I'm told they're out-dated, untimely and as might be expected - make some unpleasant reading. And, as you have no doubt already perceived, human beings don't like to remember unpleasant things. They gird themselves with the armor of wishful thinking, protect themselves with a shield of impenetrable optimism, and, with a few exceptions, seem to accomplish their "forgetting" quite admirably. But you, my children, I don't want you to be among those who choose to forget. I want you to read my stories and a lot of others like them. I want you to fill your heads with Remarque and Tolstoy and Ernie Pyle. I want you to know what shrapnel, and "88's" and mortar shells and mustard gas mean. I want you to feel, no matter how vicariously, a semblance of the feeling of a torn limb, a burnt patch of flesh, the crippling, numbing sensation of fear, the hopeless emptiness of fatigue. All these things are complimentary to the province of war and they should be taught and demonstrated in classrooms along with the more heroic aspects of uniforms, and flags, and honor and patriotism. I have no idea what your generation will be like. In mine we were to enjoy "Peace in our time". A very well meaning gentleman waved his umbrella and shouted those very words… less than a year before the whole world went to war. But this gentleman was suffering the worldly disease of insufferable optimism. He and his fellow humans kept polishing the rose colored glasses when actually they should have taken them off. They were sacrificing reason and reality for a brief and temporal peace of mind, the same peace of mind that many of my contemporaries derive by steadfastly refraining from remembering the war that came before.”

Rod Serling (1924–1975) American screenwriter

Excerpt from a dedication to an unpublished short story, "First Squad, First Platoon"; from Serling to his as yet unborn children.
Other

War, Children, World, Fear

“It is imagination that has taught man the moral sense of color, of contour, of sound and of scent. It created, in the beginning of the world, analogy and metaphor. It disassembles creation, and with materials gathered and arranged by rules whose origin is only to be found in the very depths of the soul, it creates a new world, it produces the sensation of the new. As it has created the world (this can be said, I believe, even in the religious sense), it is just that it should govern it.”

Charles Baudelaire (1821–1867) French poet

C'est l'imagination qui a enseigné à l'homme le sens moral de la couleur, du contour, du son et du parfum. Elle a créé, au commencement du monde, l'analogie et la métaphore. Elle décompose toute la création, et, avec les matériaux amassés et disposés suivant des règles dont on ne peut trouver l'origine que dans le plus profond de l'âme, elle crée un monde nouveau, elle produit la sensation du neuf. Comme elle a créé le monde (on peut bien dire cela, je crois, même dans un sens religieux), il est juste qu'elle le gouverne. "Lettres à M. le Directeur de La revue française," III: La reine des facultés http://fr.wikisource.org/wiki/Salon_de_1859_%28Curiosit%C3%A9s_esth%C3%A9tiques%29#III._.E2.80.94_La_reine_des_facult.C3.A9s Salon de 1859 (1859)

World, Soul, Imagination, Sense

“Whereas the conception of space and time as a four-dimensional manifold has been very fruitful for mathematical physicists, its effect in the field of epistemology has been only to confuse the issue. Calling time the fourth dimension gives it an air of mystery. One might think that time can now be conceived as a kind of space and try in vain to add visually a fourth dimension to the three dimensions of space. It is essential to guard against such a misunderstanding of mathematical concepts. If we add time to space as a fourth dimension it does not lose any of its peculiar character as time. …Musical tones can be ordered according to volume and pitch and are thus brought into a two dimensional manifold. Similarly colors can be determined by the three basic colors red, green and blue… Such an ordering does not change either tones or colors; it is merely a mathematical expression of something that we have known and visualized for a long time. Our schematization of time as a fourth dimension therefore does not imply any changes in the conception of time. …the space of visualization is only one of many possible forms that add content to the conceptual frame. We would therefore not call the representation of the tone manifold by a plane the visual representation of the two dimensional tone manifold.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

Music, Mathematics, Thinking, Change

“In general, it is possible to say that in artists as deliberate, as careful as [Durer and Holbein], drawing is particularly tight and the color is as cold as the verity of mathematics. In other artists, on the contrary, in those who are the poets of the heart, like Raphael, Correggio, Andrea del Sarto, line has more suppleness and color, more winning tenderness. In others whom we call realists that is to say, whose sensibility is more exterior, in Rubens, Velasquez, Rembrandt, for example, line has a living charm with its force and its repose, and the color sometimes bursts into a fanfare of sunlight, sometimes fades into mist.
So, the modes of expression of men of genius differ as much as their souls, and it is impossible to say that in some among them drawing and color are better or worse than in others.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. V. Drawing and Color, p. 104-105

Men, Soul, Mathematics, Heart

“A deep and serene silence filled her structures composed of colors and surfaces. The exclusive use of horizontal and vertical rectangular planes in the work of art, the extreme simplification, exerted a decisive influence on my work. Here I found, stripped down to the limit, the essential elements of all earthly constructions: the bursting, upward surge of the lines and the planes toward the sky, the verticality of pure life, and the vast equilibrium, the sheer horizontality and expansiveness of dreamlike peace. Her work was for me a symbol of a divinely built 'house' which man in his vanity has ravaged and sullied.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

a remark on the art of Sophie Taeuber, whom he later married.
in Abstract Painting Michel Seuphor, Dell Publishing Co., 1964, p. 58
1960s

Life, Peace, Art, Decision

“Painting is very private and personal. There's an emotional content, but I'm more involved in the light and color and drawing of a painting. I don't set out to portray an emotion.”

Helen Frankenthaler (1928–2011) American artist

Quote from an interview in 'The Post', 1972; as cited in 'Helen Frankenthaler, noted abstract painter, dies at 83' https://www.washingtonpost.com/local/obituaries/helen-frankenthaler-noted-abstract-painter-dies-at-83/2011/12/27/gIQAwr0dLP_story.html?noredirect=on&utm_term=.08d9ecdb8773, Matt Schudel, December 27, 2011 1970s - 1980s

Light, Drawing, Painting, Personality

“Our age has lost much of its ear for poetry, as it has its eye for color and line, and its taste for war and worship, wine and women.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Women, War, Age, Wine

“I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.”

Grandma Moses (1860–1961) American artist

As quoted in TIME magazine, Vol. 52 (1948)

Imagination, Tree, Painting

“I've made use of the beautiful weather to sketch and paint outside. I had been staying away from color for such a long time that it had become something quite foreign to me. Working in color was always a great joy to me. And now it is a great joy again. Still, I have to battle with it, wrestle with it, with all my strength. And one must be victorious. But if it weren't for the fight, all the beauty of it wouldn't exist at all, would it? I'm writing this mostly for Mother who, I believe, thinks my whole life is one constant act of egoistic ecstasy. But devotion to art also involves something unselfish.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her parents, from Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199
1899

Life, Beauty, Art, Thinking

“The universality, invariance, and elegance of principles governing the universe may be reflected in principles of the minds that have evolved in that universe - provided that the mental principles are formulated with respect to the abstract spaces appropriate for the representation of biologically significant objects and their properties. (1) Positions and motions of objects conserve their shapes in the geometrically fullest and simplest way when represented as points and connecting geodesic paths in the six-dimensional manifold jointly determined by the Euclidean group of three· dimensional space and the symmetry group of each object. (2) Colors of objects attain constancy when represented as points in a three-dimensional vector space in which each variation in natural illumination is cancelled by application of its inverse from the three-dimensional linear group of terrestrial transformations of the invariant solar source. (3) Kinds of objects support optimal generalization and categorization when represented, in an evolutionarily shaped space of possible objects, as connected regions with associated weights determined by Bayesian revision of maximum entropy priors”

Roger Shepard (1929) American psychologist

R. N. Shepard, (1994). "Perceptual-cognitive universals as reflections of the world." Psychonomic Bulletin and Review, 1, 2–28.

Way, Optimism, Support, Nature

“Trains, planes, cars, rockets, telescopes, tires, telephones, radios, television, electricity, atomic energy, computers, and fax machines. All miracles made possible by the minds and spirits of men with names like Ampere, Bell, Caselli, Edison, Ohm, Faraday, Einstein, Cohen, Teller, Shockley, Hertz, Marconi, Morse, Popov, Ford, Volta, Michelin, Dunlop, Watt, Diesel, Galileo, and other "dead white males." … The great majority of advancements past and present have been brought about by the genius and inventiveness of that most "despicable" of colors and genders, the dreaded white male, or, to be exact, by specific, individual white males. This is not to discredit the many contributions coming from nonwhites, but fact is fact. Our most important and consequential inventions have come almost exclusively from white males. … If you eliminate, suppress, or debase the while male, you kill the goose that laid the golden egg. If you ace him out with "affirmative" action, exile him from the family, teach him that he's a blight on mankind, then bon voyage to our society. We will devolve into a Third World cesspool. Where has there ever before in history been a group of human beings who have brought about the likes of the Magna Carta, the U. S. Constitution, and the countless life-saving and life-improving inventions that we now enjoy? … Does this mean we should sit back and let ourselves be governed by someone just because he's a white male? Of course, it doesn't. It means simply that we shouldn't suppress anyone, including white males. Let our God-given gifts run free in a free and just society, free from the oppression and tyranny of social engineers. If anyone has gifts beyond our own—be he a white male or other—be grateful. Maybe we have gifts that in some small way can contribute something of value as well. One way or another, we're all in the same boat. Few of us have truly outstanding gifts. And most of us have to humbly accept that there are others around who are more gifted than we are. In a Democratic society, it's not for Big Brother to decide who shall thrive and who shall struggle in the hive.”

Michael Savage (1942) U.S. radio talk show host, Commentator, and Author

Source: The Savage Nation: Saving America from the Liberal Assault on Our Borders, Language and Culture (2003), pp. 136–138; "White Male Inventions" http://www.dadi.org/ms_dwm.htm (December 15, 1999)

Life, Men, God, World

“For the early Greek writers Ethiopia was less a geographical location than a state of mind. For Greeks and Romans generally, Ethiopians meant dark-skinned peoples who lived south of Egypt. At times the reference was so vague as to include peoples from West Africa, Arabia, and India. At times it was more localized, referring to the Nubian kingdom of Kush, with its capital first at Napata and later at Meroe. What was constant was that the name Ethiopian denoted a person of dark color — literally, of burnt face — and that it connoted, above all else, remoteness.”

Donald N. Levine (1931–2015) sociologist

Donald N. Levine (2014), Greater Ethiopia: The Evolution of a Multiethnic Society. p. 1

People, Time, Personality

“I only identified with (Rothko's seriousness, which was absolutely to be admired. At that time, in the 1970's Barnett Newman, with his non-hierarchical structures, his non-relational Color Field painting, seemed more interesting because his work was less pretty.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 96, note 31

Time, Painting

“Her sentences march under a harsh sun that bleaches color from them but bestows a peculiar, invigorating, Pascalian clarity.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

John Updike, reviewing The Only Problem in New Yorker, July 23, 1984.

Sun

“Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

Art, Idea, Question, Personality

“The university should color itself black and color itself mulatto—not just as regards students but also professors.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Speech at the University of Las Villas (1959)

Universe

“[.. according to Gauguin ] the impression of nature must be wedded to the aesthetic sentiment which chooses, arranges, simplifies and synthesizes. The painter ought not to rest until he has given birth to the child of his imagination.... begotten in a union of his mind with reality. Gauguin insisted on a logical construction of composition, on a harmonious apportionment of light and dark colors, the simplification of forms and proportions, so as to endow the outline's of forms with a powerful and eloquent expression.... He also insisted upon luminous and pure colors.”

Paul Sérusier (1864–1927) French painter

Paul Sérusier's quote in 1888, about Paul Gauguin; in Pierre Bonnard, John Rewald; MoMA - distribution, Simon & Schuster, New York, 1918, p. 13
Sérusier encountered in his summer vacation in Pont-Aven in Brittany [Summer 1888], briefly Paul Gauguin. He also made there a small landscape, painted under Gauguin's direction. Back in Paris, October 1888, Sérusier explained his Nabis friends (Denis, Pierre Bonnard and Vuillard) the artistic lessons Paul Gauguin taught him - as reported by John Rewald in his book Pierre Bonnard, p. 13-14

Imagination, Birth, Nature, Reality

“Since when did what we paid for colored cloth gauge our gravity?”

Brandon Boyd (1976) American rock singer, writer and visual artist

Lyrics, A Crow Left of the Murder... (2004)

Gauge, Clothes

“Only now [1943] I become conscious that my work in black, white and little color planes has been merely 'drawing' in oil color. In drawing, the lines are the principal means of expressions... In painting, however, the lines are absorbed by the color planes; but the limitations of the planes show themselves as lines and conserve their great value.”

Piet Mondrian (1872–1944) Peintre Néerlandais

note from his postcard, late May 1943; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
1940's

Drawing, Painting

“I was in Rotterdam, but the exhibition there was horrible. Le Fauconnier has nothing to tell anymore. He has a dirty color now and has become a real academic. Mondrian is completely frozen, no poetry at all anymore. It's terrible that these people can not reach further with great ideals. To my taste Alma paints far too much naturalistic. A big difference, these three, compared to [Franz] Marc, Kandinsky, Filla etc..”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:)Ich war in Rotterdam, aber da war eine schreckliche Ausstellung. Le Fauconnier ist nichts mehr. Er hat jetzt eine schmutzige Farbe uns ist ein richtiger Akademiker. Mondrian ist ganz erstarrt, gar kein Poesie mehr. Es ist doch schrecklich, dass die Leute nicht weiter kommen mit grossen Idealen. Alma ist für meinen Geschmack viel zu viel Naturalist. Ein grösser Unterschied, die drei und [Franz] Marc, Kandinsky, Filla etc..
in a letter to Herwarth Walden, 9 Feb. 1915; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 13
1910's

People, Painting

“This is your country as well as anybody else's country. This country is founded upon the principle of equality. He that is meritorious and virtuous, intellectual and well informed, must stand highest, without regard to color.”

Andrew Johnson (1808–1875) American politician, 17th president of the United States (in office from 1865 to 1869)

To Union soldiers (1865), as quoted in Andrew Johnson: A Profile http://web.archive.org/web/20110316175449/http://home.nas.com/lopresti/ps17.htm (1969), "Johnson and the Negro", by Lawanda Cox and John H. Cox; edited by Eric L. McKitrick, Hill & Wang, New York pp. 141. Quote

Country

“From the beginning, I knew the public reaction to my decisions would be colored by whether there was another attack. If none happened, whatever I did would probably look like an overreaction. If we were attacked again, people would demand to know why I hadn't done more. That is the nature of the presidency. Perceptions are shaped by the clarity of hindsight. In the moment of decision, you don't have that advantage. On 9/11, I vowed that I would do what it took to protect America, within the Constitution and laws of our nation. History can debate the decisions I made, the policies I chose, and the tools I left behind. But there can be no debate about one fact: After the nightmare of September 11, America went seven and a half years without another successful terrorist attack on our soil. If I had to summarize my most meaningful accomplishment as president in one sentence, that would be it.”

George W. Bush (1946) 43rd President of the United States

Source: 2010s, 2010, Decision Points (November 2010), p. 181

People, Law, History, Nature

“Many people say that I don't know how to draw because I don't draw particular forms. When will they understand that execution, drawing and color (in other words, style) must be in harmony with the poem?”

Paul Gauguin (1848–1903) French Post-Impressionist artist

in a letter to Charles Morice (July 1901), from French Paintings and Painters from the Fourteenth Century to Post-Impressionism, ed. Gerd Muesham [Frederick Ungar, 1970, ISBN 0-8044-6521-5], p. 551
1890s - 1910s

People, Understanding, Drawing

“This whole which is visible in different ways in bodies, as far as formation, constitution, appearance, colors and other properties and common qualities, is none other than the diverse face of the same substance — a changeable, mobile face, subject to decay, of an immobile, permanent and eternal being.”

Giordano Bruno (1548–1600) Italian philosopher, mathematician and astronomer

As translated by Paul Harrison
Cause, Principle, and Unity (1584)

Way, Appearance

“Nobody wants to say, at least not for publication, that we live in a society that cares as much about the humanities as it cares about the color of the rain in Tashkent.”

Lewis H. Lapham (1935) American journalist

Source: Money And Class In America (1989), Chapter 1, The Gilded Cage, p. 20

“Today the people stand at the door of the university, and it is the university that must be flexible. It must color itself black, mulatto, worker, peasant, or else be left without doors. And then the people will tear it apart and paint it with the colors they see fit.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Speech at the University of Las Villas (1959)

People, Tear, Universe, Painting

“Whatever the apparent aim of the artist, he is called upon first to move the spectator, after having been himself struck by a design or color composition which may or may not have a relation to natural objects. His predilections, his preferences, crystallize afterwards in the choice of means to interpret those natural objects; these means are always, obligingly, of imaginary essence.”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 429
1940 - 1960

Nature

“Painting certainly means more to me than everything else in the world. I think my mind becomes clearer when I am in the presence of nature. Unfortunately, the realization of my sensations is always a very painful process with me. I can't seem to express the intensity which beats in upon my senses. I haven't at my command the magnificent richness of color which enlivens Nature... Look at that cloud; I should like to be able to paint that! Monet could. He had muscle.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, along the river near Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
Quotes of Paul Cezanne, 1880s - 1890s

Pain, World, Nature, Thinking

“Almost all new French art [ French Impressionism ] has for me a flat, empty character without any distance and depth in colors. The paintings look like white sheets of paper with colors on it.”

Jacob Maris (1837–1899) Dutch painter

Bijna alle nieuwe Fransche kunst [Impressionisme] heeft voor mij een plat, leeg karakter zonder afstand en diepte in kleur. De schilderijen lijken witte velletjes papier met kleurtjes erop. Quote of Jacob Maris, in: 'Veerpont - Jacob Maris', Frank van der Velden https://www.rembrandtcirkel.nl/ul/cms/attachment/file/document/6/0/7/607/607/1/veerpont.pdf; Vereniging Rembrandt, Spring 2005, p. 24 he lived for several years in Paris, till 1871

Art, Painting

“It's the story of a very unfortunate colored man
Who got arrested down in Old Hong Kong
He got twenty years' privilege taken away from him
When he kicked old Buddha's gong.”

Hoagy Carmichael (1899–1981) American composer, pianist, singer, actor and bandleader

Song: Hong Kong Blues http://www.lyricsvault.eu/songs/19573.html (1939).

“The colored people did not intrude themselves upon us. They were brought here in chains and held in the communities where they are now chiefly found by a cruel slave code. Happily for both races, they are now free. They have from a standpoint of ignorance and poverty—which was our shame, not theirs—made remarkable advances in education and in the acquisition of property. They have as a people shown themselves to be friendly and faithful toward the white race under temptations of tremendous strength. They have their representatives in the national cemeteries, where a grateful Government has gathered the ashes of those who died in its defense. They have furnished to our Regular Army regiments that have won high praise from their commanding officers for courage and soldierly qualities and for fidelity to the enlistment oath. In civil life they are now the toilers of their communities, making their full contribution to the widening streams of prosperity which these communities are receiving. Their sudden withdrawal would stop production and bring disorder into the household as well as the shop. Generally they do not desire to quit their homes, and their employers resent the interference of the emigration agents who seek to stimulate such a desire.”

Benjamin Harrison (1833–1901) American politician, 23rd President of the United States (in office from 1889 to 1893)

First State of the Union Address (1889)

Life, People, Education, Faith

“His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this--or more accurately, because of this--his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz--at least they have never appeared in so pure and direct a form.”

Ornette Coleman (1930–2015) American jazz musician

Gunther Schuller, quoted in [All American Music: Composition in the Late Twentieth Century, 1983, Rockwell, John, New York, Alfred A. Knopf, ISBN 0394511638].
About

World, Music, Way, Thinking

“Color is the overpowering of black; white – the final victory over black.”

Dejan Stojanovic book The Creator

“Color,” p. 64
The Creator (2000), Sequence: “A Smiling Sky”

Victory

“Oil painting and color, said Michelangelo, are for “women and the lazy.” His sharp-edged Apollonian style is the only way to beat back mother nature.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 158

Women, Way, Nature, Painting

“With a tongue like a razor he will kiss
the mother, the child,
and we three will color the stars black
in memory of his mother
who kept him chained to the food tree
or turned him on and off like a water faucet
and made women through all these hazy years
the enemy with a heart of lies.”

Anne Sexton book The Book of Folly

"The Wifebeater"
The Book of Folly (1972)

Women, Food, Star, Kiss

“I believe that there are human stocks with whom it is physically unwise to intermarry, but to think that these stocks are all colored or that there are no such white stocks is unscientific and false.”

W.E.B. Du Bois (1868–1963) American sociologist, historian, activist and writer

As quoted in Fighting Fire with Fire: African Americans and Hereditarian Thinking, 1900-1942 by Gregory Michael Dorr (RTF document) http://www.wfu.edu/~caron/ssrs/Dorr.rtf. Dorr dates this quote to 1910.

Thinking, Falseness

“No matter how much leaves are fixed face to face they always look at each other aslant, whereas all fruits end up head-on however carelessly jumbled. A bunch of flowers is a house of colored cards. A heap of fruit is a hive of colored bees.”

Malcolm de Chazal (1902–1981) Mauritian artist

Sens-plastique

Flowers, Bee, Housing

“The idea of preaching the gospel to all nations alike, regardless of nationality, of internal divisions as to rank and color, complexion and religion, constituted the beginning of a new era in history. You cannot preach the gospel in its purity over the world, without proclaiming the doctrine of civil and religious liberty,— without overthrowing the barriers reared between nations and clans and classes of men,— without ultimately undermining the thrones of despots, and breaking off the shackles of slavery, — without making men everywhere free.”

Albert Barnes (1798–1870) American theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 289.

Men, World, Religion, History

“Rally round the flag, boys—
Give it to the breeze!
That's the banner that we bore
On the land and seas.
Brave hearts are under it,
Let the traitors brag,
Gallant lads, fire away!
And fight for the flag.
Their flag is but a rag—
Ours is the true one;
Up with the Stars and Stripes!
with the new one!
Let our colors fly, boys—
Guard them day and night;
For victory is liberty,
And God will bless the right.”

James Thomas Fields (1817–1881) American writer and publisher

"The Stars and Stripes"; reported in Florence Adams and Elizabeth McCarrick, Highdays & Holidays (1927), pp. 182–83.

God, Star, Boy, Victory

“My old lip color could barely keep up with my busy schedule. In the time it takes to notice the wide discrepancy between my salary and that of my male peers, I'd have to reapply! In the seconds to count the number of women in high political office, seated on corporate executive boards and featured in film and television over the age of 40, my lip color would be as invisible as this glass ceiling only inches above my head! L'Oreal. Because I am worth it. And because holding myself to an impossible standard of beauty keeps me from starting a riot!”

Maria Bamford (1970) American actress and comedian

How to WIN! (2006)

Women, Age, Beauty, Business

“Drawing with scissors: To cut to the quick in color reminds me of the direct cutting of sculptors.”

Henri Matisse (1869–1954) French artist

Dessiner avec les ciseaux: découper à vif dans la couleur me rappelle la taille directe des sculpteurs.
1940s, Jazz (1947)

Drawing

“Color will play no part in the art of future.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 20

Art, Future, Parting

“Out of the beliefs nourished by the agrarian myth there had arisen the notion that the city was a parasitical growth on the country. Bryan spoke for a people raised for generations on the idea that the farmer was a very special creature, blessed by God, and that in a country consisting largely of farmers the voice of the farmer was the voice of democracy and of virtue itself. The agrarian myth encouraged farmers to believe that they were not themselves an organic part of the whole order of business enterprise and speculation that flourished in the city, partaking of its character and sharing in its risks, but rather the innocent pastoral victims of a conspiracy hatched in the distance. The notion of an innocent and victimized populace colors the whole history of agrarian controversy, and indeed the whole history of the populistic mind.”

Richard Hofstadter (1916–1970) American historian

Source: The Age of Reform: from Bryan to F.D.R. (1955), Chapter I, part I, p. 35

God, People, Democracy, History

“I dislike it when instead of saying Jew they say Hebrew or Israelite, or Semite, I do not like it and why should a Negro want to be called colored. Why should we want to lose being a Negro… I have stated that a noun to me is a stupid thing, if you know a thing and its name why bother about it but you have to know its name to talk about it. Well its name is Negro if it is a Negro and Jew if it is a Jew and both of them are nice strong names and so let us keep them.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

Source: Everybody’s Autobiography (1937), Ch. 4

Stupidity, Strong

“another and longer variant: I now abandon work. It penetrated so deeply and so gently into me, I feel it and it gives me confidence in myself without effort. Color possesses me. I don’t have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: Colour and I are one. I am a painter.”

Paul Klee (1879–1940) German Swiss painter

Quote (Tunisia, 16 April 1914), # 926, in: The Diaries of Paul Klee, 1898-1918, transl. Pierre B. Schneider, R.Y. Zachary and Max Knight; Berkeley and Los Angeles, University of California Press, 1964
1911 - 1914, Diary-notes from Tunisia' (1914)

Happiness, Feeling, Confidence, Effort

“They didn't understand it and I tried to make them see
That one is only poor only if they choose to be
Now I know we had no money but I was rich as I could be
In my coat of many colors that Momma made for me
Made just for me…”

Dolly Parton (1946) American singer-songwriter and actress

Coat of Many Colors from the album of the same name
Song lyrics

Money, Understanding

“It was a rather beggarly set of authorities that reinstated the charges against Christ's tenant two days later at that dreary place, Þingvellir by Öxará. Even the Danish proxy's booth was a shambles, as if the royal power no longer gave any thought to protecting its image of authoritarian splendor against Iceland's storms of wind and rain, which were so inseparable from its folk, crooked and frostbitten pieces of timberwood in the shape of humans. Iceland's weather was a mill that left nothing unpulverized but for the country's basalt peaks. It uprooted and demolished all human works, wiping away not only their color but also their form... The high court was convened in the dilapidated cottage that had once been called a courthouse. Its roof had been torn off, giving wind and rain free range throughout the hall. Mire that had run from the turf walls onto the rotten floorplanks hadn't been mucked out. Inward along the floorboards hobbled Jón Hreggviðsson from Rein, gray-haired, groaning, and puffing.”

Halldór Laxness (1902–1998) Icelandic author

Íslandsklukkan (Iceland's Bell) (1946), Part III: Fire in Copenhagen

Christ, Weather, Country

“One evening I came to have a discussion with my father on the subject how long unbelievers are tormented in Hell. I maintained that no sinner could be so guilty that God would let him suffer longer than a thousand years. Father said that they would suffer for a thousand times a thousand years. We would not give up the argument. I became so irritated... I returned home to make my piece with him. He had gone to bed so I quietly opened his bedroom door. He was on his knees in front of the bed, praying... I closed the door and went to my own room but I could not get to sleep.... eventually I took out my drawing block and started to draw. I drew my father kneeling by his bed, with the light from the bedside lamp casting a yellow glow over his nightshirt. I fetched my paintbox and colored it in. Finally I achieved the right pictorial effect, and I was able to go to bed happy and slept soundly.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

after 1930
Source: 'Close Up of a Genius', Rolf E. Stenersen; Sem and Stenersen, Oslo 1946, pp. 10 – 11

God, Happiness, Home, Hell

“Silence equals nonexistence. If I don't give too much information, if I don't go there, it's like I was never there in the first place. I noticed this most right after September 11, when there were no gays or lesbians invited to give their opinion about what was going on. There were no women invited to give their opinion. There were hardly any people of color invited, and if they were, they were Muslim-Americans and Arab-Americans talking about the violence that they'd experienced because they shared the same skin color as the terrorists, which is heinous and dumb!”

Margaret Cho (1968) American stand-up comedian

That's like arresting Emmanuel Lewis because Gary Coleman punched that woman!
From Her Tours and CDs, Revolution Tour

Women, People, Silence

“I gave to you, now, you give to me
I'd like to know what you learned.
The sky is blue and so is the sea
What is the color, when black is burned?”

Neil Young (1945) Canadian singer-songwriter

I Am a Child, from Last Time Around (1968)
Song lyrics, With Buffalo Springfield

Learning, Sea

“The education of Peter III was undermined by a clash of unfortunate circumstances. I will relate what I have seen and heard, and that in itself will clarify many things. I saw Peter III for the first time when he was eleven years old, in Eutin at the home of his guardian, the Prince Bishop of Lübeck. Some months after the death of Duke Karl Friedrich, Peter III’s father, the Prince Bishop had in 1739 assembled all of his family at his home in Eutin to have his ward brought there. My grandmother, mother of the Prince Bishop, and my mother, sister of this same Prince, had come there from Hamburg with me. I was ten years old at the time…. It was then that I heard it said among this assembled family that the young duke was inclined to drink, that his attendants found it difficult to prevent him from getting drunk at meals, that he was restive and hotheaded, did not like his attendants and especially Brümmer, and that otherwise he showed vivacity, but had a delicate and sickly appearance. In truth, his face was pale in color and he seemed to be thin and of a delicate constitution. His attendants wanted to give this child the appearance of a mature man, and to this end they hampered and restrained him, which could only inculcate falseness in his conduct as well as his character.”

Catherine the Great (1729–1796) Empress of Russia

Memoirs

Death, Truth, Education, Family

“To be a student of Stuck [1898 - 1900] sounded good. In reality, however, it was not half so splendid. Instead of coming to him with a sound mind I brought a thousand pains and many prejudices. In the realm of colour I found it hard to progress. Since the tone provided by mood predominated strongly in my mastery of form, I sought to find as much profit as possible here at least. And, in this respect, a great deal really was to be gained at Stuck's. Naturally I was not the only one, at this time, to be deficient in the realm of color. Later, in his monograph, Kandinsky passed a similar judgement on this school [of Stuck].”

Paul Klee (1879–1940) German Swiss painter

Quote (1900), # 121, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

Pain, School, Mood, Nature

“There's nothing like the waiting room of any office of the governmentor its allies to remind you of how lucky you are. You enter a nonplace, nontime. You sit on battered chairs in murky blues and greens that nobody ever names as their favorite color. You stare at the signs that have no bearing on you, nonspecific communiqués from the land that punctuation forgot. You wait until the waiting loses all sense of direction or purpose, until you become like a stone deposited in a field millenia ago by a careless glacier. You are here. This is all you have ever known. In the meantime you are stripped of any sense of individuality, of the idea that you might be different from anyone else in the room except by virtue of your particular problem; and so you become the problem, defensively, accepting it as identity, until it swells and suppurates and becomes all you are. As a species we'll tolerate being close to others, but not so close, and not in those circumstances and when we feel so small: we become rows of dry, fretting eyes, hating everyone around us and sincerely wishing our neighbor dead so we can move up one place in the line.Or maybe it was just me.”

Michael Marshall Smith (1965) British novelist, screenwriter and short story writer

Source: The Lonely Dead (2004), Ch. 5

Hate, Feeling, Idea, Problem

“The outburst of the first crusade was splendid even in a military sense, but it was great beyond comparison in its reflexion in architecture, ornament, poetry, color, religion and philosophy. Its men were astonishing, and its women were worth all the rest.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Women, Men, Religion, Sense

“America is a country with so much opportunity. After returning from a recent trip to West Africa, I gained a new perspective on what our country’s colors mean to me. Even in our worst times, we have so much more and give so much. Everywhere I went people wanted to know how they could get to America. On my way home I realized that I now looked at our flag differently. I thought about those that fought so hard for our independence; to give us the right to pursue our dreams.”

Katharine McPhee (1984) American pop singer, songwriter, and actress

Source: Up Close with Smash Star Katharine McPhee http://www.shape.com/celebrities/interviews/close-smash-star-katharine-mcphee (May 17, 2012)

People, Dreams, Way, Home

“Robinson (1952) pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional… Robinson (1952) argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules… Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required (e. g., lettering, color, and map design). He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols”

Alan MacEachren (1952) American geographer

e.g., the smallest difference in lettering size that would be noticeable to most readers
Source: How Maps Work: Representation, Visualization, and Design (1995), p. 2-3

Art, Decision, Study, Science

“Listen to what the heart has to say. It is not going to run your life. The heart's message is so simple. It's not going to tell you that you should buy this color jacket, and this color car and this color house. Heart only has one thing to say to you, 'Be fulfilled.' This is all it ever has wanted, and this is the only demand the heart has for you. What have we done with ourselves? We have made ourselves slaves of the past and the future. Take away the future, which doesn't yet exist, and the past that has disappeared. Be fulfilled now, in this moment.”

Prem Rawat (1957) controversial spiritual leader

Paris, France July 7, 1990
1990s

Life, Cars, Past, Future

“The heart of the question is whether all Americans are to be afforded equal rights and equal opportunities, whether we are going to treat our fellow Americans as we want to be treated. If an American, because his skin is dark, cannot eat lunch in a restaurant open to the public, if he cannot send his children to the best public school available, if he cannot vote for the public officials who represent him, if, in short, he cannot enjoy the full and free life which all of us want, then who among us would be content to have the color of his skin changed and stand in his place? Who among us would then be content with the counsels of patience and delay?”

John F. Kennedy (1917–1963) 35th president of the United States of America

1963, Civil Rights Address

Life, Children, School, Question

“I received a draft of a beautiful Tree penciled on a large sheet of white paper bearing ripe fruit I saw it plainly it looked very singular and curious to me. I have since learned that this tree grows in the Spirit Land. Afterwards the spirit showed me plainly the branches, leaves, and fruit presented or drawn upon paper. The leaves were checked or (unreadable) and the same color you see here. I entreated Mother Ann to tell me the name of this tree which she did Oct 1st 4th hour PM by moving the hand of a medium to write twice over Your Tree is the Tree of Life.”

Hannah Cohoon (1781–1864) American artist

Hand printed below Hannah Cohoon's painting of "The Tree of Life" dated July 3, 1854

Life, Beauty, Tree, Learning

“This happened in 1912. Cubism was in full force. I made paintings that seemed like prisms compared to the Cubism my fellow artists were producing. I was the heretic of Cubism. I had great arguments with my comrades who banned color from their palette, depriving it of all elemental mobility. I was accused of returning to Impressionism, of making decorative paintings, etc... I felt I had almost reached my goal.”

Robert Delaunay (1885–1941) French painter

6
Quote from Delaunay's 'First Notebook, 1939', as cited in The New Art of Color: The Writings of Robert and Sonia Delaunay, Viking Press, 1978; as quoted on Wikipedia / Delaunay
1915 - 1941

Painting

“We [his art-friend & painter Morris Louis and Noland himself] were interested in Pollock but could gain no lead from him. He was too personal. But Frankenthaler showed us a way – a way to think about and use, color..”

Kenneth Noland (1924–2010) American artist

from: Abstract Art, Anna Moszynska; Thames and Hudson 1990, p. 194

Art, Way, Thinking, Personality

“Technical display in Chopin, after the early works, is transmuted into tone color or dramatic gesture-we may say, to accept the prejudices of Chopin's own generation, that it has been ennobled. This is the source of much of the poetry in Chopin's music: it comes from the transformation of the vulgar into something aristocratic.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

Music

Quotes about colors page 12

Quotes about colors
page 12