Quotes about drawing
page 6

“Grand pappy told my pappy back in my day son
A man had to answer for the wicked that he'd done
Take all the rope in Texas, find a tall oak tree
Round up all of them bad boys, hang them high in the street
For all the people to seeThat justice is the one thing you should always find
You got to saddle up your boys, you got to draw a hard line
When the gun smoke settles, we'll sing a victory tune
And we'll all meet back at the local saloon.
We'll raise up our glasses against Evil forces singing
Whiskey for my men, beer for my horses.”

Toby Keith (1961) American country music singer and actor

Beer for My Horses, written with Scotty Emerick.
Song lyrics, Unleashed (2002)

Men, People, Justice, Boy

“At the moment I quite often go to draw with Breitner [in the streets of The Hague], a young painter who's acquainted with Rochussen as I am with Mauve. He draws very skilfully and very differently from me, and we often draw types together in the soup kitchen or the waiting room &c. He sometimes comes to my studio to look at woodcuts, and I go to see the ones he has as well.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

In his letter to his brother Theo, from The Hague, Monday, 13 February 1882, http://vangoghletters.org/vg/letters/let204/letter.html, from the original letter; location and translation: Van Gogh museum, Amsterdam]] 1880s, 1882

Waiting

“While we talk, the sun is getting older. It will explode in 4.5 billion years. … In comparison everything else seems insignificant. Wars, conflicts, political tension, shifts in opinion, philosophical debates, even passions—everything’s dead already if this infinite reserve from which you now draw energy to defer answers, if in short thought as a quest, dies out with the sun. … The inevitable explosion to come, the one that’s always forgotten in your intellectual ploys, can be seen in a certain way as coming before the fact to render these ploys … futile. … In 4.5 billions years there will arrive the demise of your phenomenology and your utopian politics, and there’ll be no one there to toll the death knell or hear it. It will be too late to understand that your passionate, endless questioning always depended on a “life of the mind.” … Thought borrows a horizon and orientation, the limitless limit and the end without end it assumes, from the corporeal, sensory, emotional and cognitive experience of a quite sophisticated but definitely earthly existence. With the disappearance of the earth, thought will have stopped—leaving that disappearance absolutely unthought of. … The death of the sun is a death of mind. … There’s no sublation or deferral if nothing survives. … The sun, our earth, and your thought will have been no more than a spasmodic state of energy, an instant of established order, a smile on the surface of matter in a remote corner of the cosmos. … Human death is included in the life of the mind. Solar death implies an irreparably exclusive disjunction between death and thought: if there’s death, then there’s no thought.”

Jean-François Lyotard (1924–1998) French philosopher

Source: Thought Without a Body? (1994), pp. 286-289

Life, Death, War, Smile

“I don't work from drawings and colour sketches into a final painting. Painting, I think, today – the more immediate, the more direct – the greater the possibilities of making a direct – of making a statement.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

Thinking, Painting

“It is a false idea that drawing in itself can be beautiful. It is only beautiful through the truths and the feelings that it translates. The crowd admires artists, who, strong in subject, elegantly pen contours destitute of significance, and who plant their figures in pretentious poses. It goes into ecstasies over poses which are never seen in nature, and which are considered artistic because they recall the posturings of the Italian models who offer themselves at the studio door. That is what is generally called beautiful drawing. It is really only sleight-of-hand, fit to astonish boobies.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. V. Drawing and Color, p. 95-96

Truth, Beauty, Feeling, Idea

“I try to condense the meaning of this body [of a woman] by drawing its essential lines. The charm will then become less apparent at first glance, but in the long run it will begin emanate from the new image. This image at the same time will be enriched by a wider meaning, a more comprehensively human one, while the charm, being less apparent, will not be its only characteristic. It will be merely one element in the general conception of the figure.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 411

Time

“The cross is a very powerful symbol and it symbolizes suffering, but it also is connected to a person who was loving and sharing and his message was about unconditional love. I tried to take a powerful image and use it to draw attention to a situation that needs attention. For me, we all need to be Jesus in our time. Jesus' message was to love your neighbor as yourself and these are people in need.”

Madonna (1958) American singer, songwriter, and actress

Explaining the controversial crucifixion scene in her Confessions tour http://www.chinadaily.com.cn/showbiz/2007-02/17/content_811558.htm

Love, People, Suffering, Time

“Put these values together and you can see how the radical middle draws holistically on our entire political tradition. Each value is a sort of updated version of an aspect of our 18th-century political heritage – liberty, equality, happiness, and fraternity, respectively.”

Mark Satin (1946) American political theorist, author, and newsletter publisher

Source: Radical Middle (2004), Chapter 1, "A Creative and Practical Politics," p. 6.

Happiness

“I have focused on your desire to bring in more effect [in the watercolor].... with more light in the drawing, [what] was not the least difficult.... [this operation] has passed tricky moments; but I believe I have remained master of the area and have made a drawing [watercolor] of aspect [? ] and color.”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik heb mij op uw verlangen toegelegd er meer effect in te brengen.. ..met méér licht in een teekening [= aquarel] te brengen, [wat] niet van de minst moeijelijke was.. ..[deze bewerking] heeft kwade oogenblikken doorstaan; maar ik geloof meester gebleven te zijn van het terrein en er eene Teekening [aquarel] van aspect [?] en kleur gemaakt te hebben.
In a letter to Pieter verLoren van Themaat, 17 Feb. 1864; in Haagsch Gemeentearchief / Municipal Archive of The Hague
Mr. verLoren van Themaat had asked for some changes in an already purchased watercolor, made by Roelofs: a landscape with duck decoys, near the village Meerkerk
1860's

Color, Light

“As regards Ramakrishna’s “practice of Islam and Christianity” of which the Mission makes so much, it finds no mention in the Gospel, the earliest and most authentic account of Ramakrishna’s thoughts and experiences in his own words. In this work we find that though Ramakrishna reminisces often about his experiences and God-filled states, there is hardly a word about his so-called practice of Islam and Christianity…. It also seems that the practice of Islam and Christianity made a less than deep impression on Ramakrishna, for subsequently he does not mention on his own initiative either Muhammad or the Koran, neither Jesus nor the Bible. Not even once! Nor did he draw from” his practice such excessive and indiscriminate conclusions as Mission monks now do.”

Ram Swarup (1920–1998) Indian historian

Ramakrishna Mission. (1986). Ramakrishna Mission: In search of a new identity.

God

“SPAN ID=Indeed> Indeed, most of the time when we are listening to the noises people make or looking at the black marks on paper that stand for such noises, we are drawing upon the experiences of others in order to make up for what we ourselves have missed. Obviously the more an individual can make use of the nervous systems of others to supplement his own, the easier it is for him to survive. And, of course, the more individuals there are in a group cooperating by making helpful noises at each other, the better it is for all -- within the limits, naturally, of the group's talents for social organization. […] Societies, both animal and human, might almost be regarded as huge cooperative nervous system.

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), Cooperation, p. 11

People, Nature, Time, Help

“You will have to brace yourselves for this — not because it is difficult to understand, but because it is absolutely ridiculous: All we do is draw little arrows on a piece of paper — that’s all!”

Richard Feynman book QED: The Strange Theory of Light and Matter

Source: QED: The Strange Theory of Light and Matter (1985), p. 24

Understanding

“As the thought comes to me to exorcise and transform this black with a white drawing, it has already become a surface... Now I have lost all fear, and begin to draw on the black surface.”

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

Hans Arp's quote on drawing on the black surface; as quoted in Search for the Real, Hans Hofmann, Addison Gallery of modern Art, 1948
1940s

Fear

“You know when it comes to racism, people say: " I don't care if they're black, white, purple or green"… Ooh hold on now: Purple or Green? You gotta draw the line somewhere! To hell with purple people!”

Mitch Hedberg (1968–2005) American stand-up comedian

Unless they're suffocating - then help'em.
Just For Laughs: On The Edge - 2002

People, Hell

“I was a healthy, strong, cheerful boy, and like to take great walks in and around The Hague... I sometimes got a blow from Nature. And if I got such a blow later, I could draw and paint what I saw. I recorded it in a few scribbles.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: Ik was een gezonde, stevige, vroolijke jongen, en maakte graag grote wandelingen in en om Den Haag.. ..Ik kreeg soms een klap van de Natuur. En als ik later die klap had, kon ik teekenen en schilderen, wat ik zag en gezien had. In een paar krabbels legde ik het vast.
Source: J. H. Weissenbruch', (n.d.), p. 21

Boy, Nature, Strong, Painting

“I recognize that the career draws applicants from a certain psychological pool. Garrett came from somewhere near the shallow end.”

Eric Garcia (1972) An amazing author who has written several wonderful books!

Source: The Repossession Mambo (2009), Chapter 15 (p. 248)

“Only when a disputed point has long caused bloodshed and disturbance, or when a successful invader (military or theological) insists on a change, is it necessary to draw up a code.”

Edward Jenks (1861–1939) British legal scholar

Source: A Short History Of The English Law (First Edition) (1912), Chapter I, Old English Law, p. 4

Change, Success

“Man is not by any means of fixed and enduring form (this, in spite of suspicious to the contrary on the part of their wise men, was the ideal of the ancients). He is much more an experiment and a transition. He is nothing else than the narrow and perilous bridge between nature and spirit. His innermost destiny drives him on to the spirit and to God. His innermost longing draws him back to nature, and the mother. Between the two forces his life hangs tremulous and resolute.”

Hermann Hesse book Steppenwolf

Steppenwolf (1927)

Life, Men, God, Nature

“In the next episode you’ll see two people draw a picture of an angel and notice when they do that they draw the angel from a particularly secular perspective. And I’m certainly not one to begin to criticise the religio-artistic viewpoint of my two charming volunteers but it does make you stop and think what spiritually vacuous times we live in when two young people instinctively draw an angel with a halo attached to the back of its head with a stick.”

Derren Brown (1971) British illusionist

Other TV and web appearances, E4 Mind Control Night

People, Angels, Thinking, Time

“Dear brothers and sisters … we cannot but recall the crimes of these criminal [Jews] throughout history. … Why did France, in 1253, expel and uproot the Jewish entity which was represented by the ghetto? Why did they expel them? Because they sucked the blood of the French, because they shed the blood of the French, slaughtered them, stole their money, and conspired against them. At the end of the day, the French had no choice but to expel them in 1253. … The series of expulsions continues to this day, … and Allah willing, their expulsion from Palestine in its entirety is certain to come. We are no weaker or less honourable than the peoples that expelled and annihilated the Jews. The day we expel them is drawing near. … We extend our hands to feed these hungry dogs and wild beasts, and they devoured our fingers. We have learned the lesson: there is no place for you among us, and you have no future among the nations of the world. You are headed to annihilation.”

Mahmoud al-Zahar (1945) Co-founder of Hamas

Speech on Al-Aqsa TV, Video with English captions http://www.youtube.com/watch?v=5UT6grrx8do (5th November 2012)

Money, People, World, Dogs

“Must God be defined in a way that places him or her beyond the scope of science?
I’d always believed that there was nothing beyond the scope of science.
And I still believe that.
Where do you draw the line?
Right here. For me, the answer was right here.
How do you define God?
Like this. A God I could understand, at least potentially, was infinitely more interesting and relevant than one that defied comprehension.”

Robert J. Sawyer book Calculating God

Source: Calculating God (2000), Chapter 34 (p. 326)

God, Way, Understanding, Science

“You cannot teach painting because everyone's colour sense is different. But drawing.. you either get it right or wrong. You can tell whether people have drawn from life from their pictures.”

L. S. Lowry (1887–1976) British visual artist

Tynes Tees Television Interview 1968

Life, People, Sense, Painting

“A holy man will follow after purity of heart. He will dread all filthiness and uncleanness of spirit, and seek to avoid all things that might draw him into it. He knows his own heart is like tinder, and will diligently keep clear of the sparks of temptation. Who shall dare to talk of strength when David can fall? There is many a hint to be gleaned from the ceremonial law. Under it the man who only touched a bone or a dead body or a grave or a diseased person became at once unclean in the sight of God.”

J.C. Ryle (1816–1900) Anglican bishop

Holiness: Its Nature, Hindrances, Difficulties, and Roots (first published 1879).

God, Disease, Law, Heart

“I am convinced the days of reckless corruption in this country are numbered. Even now, history is drawing a line in the sand and there is a war that rages. Consider whether you will fight on the right side when the rule of integrity is finally realised. Because that day is coming. As much as integrity, impartiality is a good principle to espouse and a difficult practice to achieve. Yet achieve it you must. The purpose of the police is to enforce the law, and the law favours no man. Your decisions as such, must never be subject to the charge of discrimination.”

Uhuru Kenyatta (1961) Kenyan politician

On modernizing police in Kenya, quoted in " President Kenyatta promises modernization of police service https://citizentv.co.ke/news/president-kenyatta-promises-modernization-of-police-service-115214/", CitizenTV (February 19, 2016).

War, Law, History, Decision

“These two characteristics make revenge the most suitable source for the formation of ressentiment. The nuances of language are precise. There is a progression of feeling which starts with revenge and runs via rancor, envy, and impulse to detract all the way to spite, coming close to ressentiment. Usually, revenge and envy still have specific objects. They do not arise without special reasons and are directed against definite objects, so that they do not outlast their motives. The desire for revenge disappears when vengeance has been taken, when the person against whom it was directed has been punished or has punished himself, or when one truly forgives him. In the same way, envy vanishes when the envied possession becomes ours. The impulse to detract, however, is not in the same sense tied to definite objects—it does not arise through specific causes with which it disappears. On the contrary, this affect seeks those objects, those aspects of men and things, from which it can draw gratification. It likes to disparage and to smash pedestals, to dwell on the negative aspects of excellent men and things, exulting in the fact that such faults are more perceptible through their contrast with the strongly positive qualities. Thus there is set a fixed pattern of experience which can accommodate the most diverse contents. This form or structure fashions each concrete experience of life and selects it from possible experiences. The impulse to detract, therefore, is no mere result of such an experience, and the experience will arise regardless of considerations whether its object could in any way, directly or indirectly, further or hamper the individual concerned. In “spite,” this impulse has become even more profound and deep-seated—it is, as it were, always ready to burst forth and to betray itself in an unbridled gesture, a way of smiling, etc. An analogous road leads from simple *Schadenfreude* to “malice.””

Max Scheler (1874–1928) German philosopher

The latter, more detached than the former from definite objects, tries to bring about ever new opportunities for *Schadenfreude*.
Das Ressentiment im Aufbau der Moralen (1912)

Life, Men, Smile, Way

“I am sure that hon. members will realize that I am not drawing on my imagination when I state that last fall there were children going to school in Saskatchewan with only sacking wrapped around their feet. We have gone into homes and found mothers and children lying on piles of bedding in the corner; they did not have the proper bedding equipment or the proper clothing to meet the rigours of a very cold winter.”

Tommy Douglas (1904–1986) Scottish-born Canadian politician

Maiden speech, House of Commons, Ottawa, Ontario, February 11, 1936.

Children, School, Home, Imagination

“And I want women to be modest in their appearance. They should wear decent and appropriate clothing and not draw attention to themselves by the way they fix their hair or by wearing gold or pearls or expensive clothes. For women who claim to be devoted to God should make themselves attractive by the good things they do.”

Paul of Tarsus book First Epistle to Timothy

1 Timothy 2:9-10 (as quoted in New Living Translation http://biblehub.com/nlt/1_timothy/2.htm) First Epistle to Timothy

Women, God, Way, Appearance

“As to the word itself, it is generally allowed to be of Greek extraction. But whence the Greek word, enthousiasmos, is derived, none has yet been able to show. Some have endeavoured to derive it from en theoi, in God; because all enthusiasm has reference to him. … It is not improbable, that one reason why this uncouth word has been retained in so many languages was, because men were not better agreed concerning the meaning than concerning the derivation of it. They therefore adopted the Greek word, because they did not understand it: they did not translate it into their own tongues, because they knew not how to translate it; it having been always a word of a loose, uncertain sense, to which no determinate meaning was affixed.
It is not, therefore, at all surprising, that it is so variously taken at this day; different persons understanding it in different senses, quite inconsistent with each other. Some take it in a good sense, for a divine impulse or impression, superior to all the natural faculties, and suspending, for the time, either in whole or in part, both the reason and the outward senses. In this meaning of the word, both the Prophets of old, and the Apostles, were proper enthusiasts; being, at divers times, so filled with the Spirit, and so influenced by Him who dwelt in their hearts, that the exercise of their own reason, their senses, and all their natural faculties, being suspended, they were wholly actuated by the power of God, and “spake” only “as they were moved by the Holy Ghost.”
Others take the word in an indifferent sense, such as is neither morally good nor evil: thus they speak of the enthusiasm of the poets; of Homer and Virgil in particular. And this a late eminent writer extends so far as to assert, there is no man excellent in his profession, whatsoever it be, who has not in his temper a strong tincture of enthusiasm. By enthusiasm these appear to understand, all uncommon vigour of thought, a peculiar fervour of spirit, a vivacity and strength not to be found in common men; elevating the soul to greater and higher things than cool reason could have attained.
But neither of these is the sense wherein the word “enthusiasm” is most usually understood. The generality of men, if no farther agreed, at least agree thus far concerning it, that it is something evil: and this is plainly the sentiment of all those who call the religion of the heart “enthusiasm.” Accordingly, I shall take it in the following pages, as an evil; a misfortune, if not a fault. As to the nature of enthusiasm, it is, undoubtedly a disorder of the mind; and such a disorder as greatly hinders the exercise of reason. Nay, sometimes it wholly sets it aside: it not only dims but shuts the eyes of the understanding. It may, therefore, well be accounted a species of madness; of madness rather than of folly: seeing a fool is properly one who draws wrong conclusions from right premisses; whereas a madman draws right conclusions, but from wrong premisses. And so does an enthusiast suppose his premisses true, and his conclusions would necessarily follow. But here lies his mistake: his premisses are false. He imagines himself to be what he is not: and therefore, setting out wrong, the farther he goes, the more he wanders out of the way.”

John Wesley (1703–1791) Christian theologian

Sermon 37 "The Nature of Enthusiasm"
Sermons on Several Occasions (1771)

Men, God, Religion, Fools

“I am committed to using technology in my dances but not for the purpose of making a comment on technology, but rather to use it as a tool to express the human condition. I think that there are many disadvantages to using technology, it is expensive, difficult to set up and can steal the show by drawing too much attention away from the dance. I love the beauty and the simplicity of a warm body moving without frills, but I think technology is part of our common language now and to not create a relationship with it in dance seems like ignoring a vital tool for connection.”

Tami Stronach (1972) American choreographer

Interview in the Greenpoint Gazette.

Love, Beauty, Thinking, Dance

“In 1919 we pledged our honour as a country that we would disarm as soon as possible, and other countries did the same. In the face of that Germany accepted the Treaty of Versailles. We had done nothing. We had offered a Disarmament Conference which might well make the gods laugh if they desired the destruction of the human race. We had got to realize the extraordinary gravity of the European situation—the pass to which the National Government had brought the world. The worst Foreign Secretary for 200 years had led this country into folly after folly in the international field. They ought to warn the Government that in no circumstances would they break any of the pacts they had made not to go to war. There was only one effective way in which they could make that threat effective…and that was to call a general strike. It was for the people of this country, in answer to that call, to put themselves behind the trade unions and to compel the trade unions to draw up plans immediately for that great resistance.”

Stafford Cripps (1889–1952) British politician

Speech in Bristol (28 October 1933), quoted in The Times (30 October 1933), p. 14.

God, War, People, World

“…H. K. Srivastava, made a proposal to attack the problem of communal friction at what he apparently considered its roots. He wanted all press writing about the historical origins of temples and mosques to be banned. And it is true : the discussion of the origins of some mosques is fundamental to this whole issue. For, it reveals the actual workings of an ideology that, more than anything else, has caused countless violent confrontations between the religious communities. However, after the news of this proposal came, nothing was heard of it anymore. I surmise that the proposal was found to be juridically indefensible in that it effectively would prohibit history-writing, a recognized academic discipline of which journalism makes use routinely. And I surmise that it was judged politically undesirable because it would counterproductively draw attention to this explosive topic. The real target of this proposal was the book Hindu Temples : What Happened to Them (A Preliminary Survey) by Arun Shourie and others. In the same period, there has been a proposal in the Rajya Sabha by Congress MP Mrs. Aliya to get this book banned,… The really hard part of the book is a list of some two thousand Muslim buildings that have been built on places of previous Hindu worship (and for which many more than two thousand temples have been demolished). In spite of the threat of a ban on raking up this discussion, on November 18 the U. P. daily Pioneer has published a review of this book, by Vimal Yogi Tiwari,…. "History is not just an exercise in collection of facts though, of course, facts have to be carefully sifted and authenticated as Mr. Sita Ram Goel has done in this case. History is primarily an exercise in self-awareness and reinforcement of that self-awareness. Such a historical assessment has by and large been missing in our country. This at once gives special significance to this book."”

Koenraad Elst (1959) orientalist, writer

1990s, Ayodhya and After: Issues Before Hindu Society (1991)

Books, Exercises, History, Communication

“It is true that one of the first acts of tyrants is to erase history, to wipe out the recorded memory of a people. With that in mind, it's important to remember that the work that we do as writers, artists and performers will form an essential part of the collective memory that future generations will draw upon. And so we owe it to those future generations to defend that memory and be honest witnesses to our times.”

Rene Balcer (1954) screenwriter, producer and director

In a speech to the Central Academy of Fine Arts in Beijing, 12/8/09: On the duties of artists.

People, History, Memory, Time

“… poets are sensitive to the challenge 'What is the moral justification of poetry?' because they are conscious of the intrinsic goodness of poetry. Goody-goody humanitarian causes draw them easily into membership by making them wince at the notion of all the injustices prevalent in the world of physical consciousness. Let it be declared as clearly as possible that the goodness of poetry is not moral goodness, the goodness of temporal action, but the goodness of thought, the loving exercise of the will in the pursuit of truth.”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

Laura Riding and Robert Graves from "Poetry and Politics", reprinted in The Common Asphodel (London: Hamish Hamilton, 1949)

Love, Truth, World, Exercises

“Have patience, Margaret, and trouble not thyself. Death comes for us all; even at our birth — even at our birth, death does but stand aside a little. And every day he looks toward us and muses somewhat to himself whether that day or the next he will draw nigh. It is the law of nature, and the will of God. You have long known the secrets of my heart.”

Robert Bolt A Man for All Seasons

Sir Thomas More, Act II
A Man for All Seasons (1960)

Death, God, Secret, Law

“My blonde was here again today. This time with her little boy at her breast. I had to draw her as a mother, had to. That is her single true purpose. Marvelous, these gleaming white breasts in her fiery red blouse. The whole thing is so grand in its shape and color..”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of Marianne's Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 193
1897

Color, Boy, Time

“The purity of our principles, the idealism of our struggle, these are factors of strengthening and drawing power that have given to us courage for all our battles, and have given to our doctrines an irresistible attraction for all who feel themselves oppressed and have a sense of honor.”

Wilhelm Liebknecht (1826–1900) German socialist politician

No Compromise – No Political Trading (1899)

Feeling, Courage, Sense

“One of the most interesting things about business to me is that I find so many business men who are willing to try experiments. I should like to tell you about two evenings I spent last winter and the contrast between them. I went one evening to a drawing-room meeting where economists and M. Ps. talked of current affairs, of our present difficulties. It all seemed a little vague to me, did not seem really to come to grips with our problem. The next evening it happened that I went to a dinner of twenty business men who were discussing the question of centralization and decentralization. Each one had something to add from his own experience of the relation of branch firms to the central office, and the other problems included in the subject. There I found L hope for the future. There men were not theorizing or dogmatizing; they were thinking of what they had actually done and they were willing to try new ways the next morning, so to speak. Business, because it gives us the opportunity of trying new roads, of blazing new trails, because, in short, it is pioneer work, pioneer work in the organized relations of human beings, seems to me to offer as thrilling an experience as going into a new country and building railroads over new mountains. For whatever problems we solve in business management may help towards the solution of world problems, since the principles of organization and administration which are discovered as best for business can be applied to government or international relations. Indeed, the solution of world problems must eventually be built up from all the little bits of experience wherever people are consciously trying to solve problems of relation. And this attempt is being made more consciously and deliberately in industry than anywhere else.”

Mary Parker Follett (1868–1933) American academic

Source: Dynamic administration, 1942, p. xxi-xxii

Men, People, World, Hope

“Weissenbruch to Anton Mauve: He [ Vincent van Gogh ] is drawing damn well, I could paint after his studies.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch, Weissenbruch tegen Anton Mauve: Hij teekent verdomd goed, ik zou naar zijn studies kunnen werken.
a remark to Anton Mauve, who asked Weissenbruch to visit Vincent van Gogh and see his work
Source: J. H. Weissenbruch', (n.d.), p. 44, note 1

Study, Painting

“You think it a great triumph to make the sun draw brown landscapes for you! That was also a discovery, and some day may be useful. But the sun had drawn landscapes before for you, not in brown, but in green, and blue, and all imaginable colours, here in England. Not one of you ever looked at them, then; not one of you cares for the loss of them, now, when you have shut the sun out with smoke, so that he can draw nothing more, except brown blots through a hole in a box. There was a rocky valley between Buxton and Bakewell, once upon a time, divine as the vale of Tempe; you might have seen the Gods there morning and evening, — Apollo and all the sweet Muses of the Light — walking in fair procession on the lawns of it, and to and fro among the pinnacles of its crags. You cared neither for Gods nor grass, but for cash (which you did not know the way to get); you thought you could get it by what the Times calls "Railroad Enterprise." You Enterprised a Railroad through the valley — you blasted its rocks away, heaped thousands of tons of shale into its lovely stream. The valley is gone, and the gods with it; and now, every fool in Buxton can be at Bakewell in half-an-hour, and every fool in Bakewell at Buxton; which you think a lucrative process of exchange — you Fools Everywhere.”

John Ruskin book Fors Clavigera

Fors Clavigera, letter v (1 May 1871).
Fors Clavigera (1871-1878 and 1880-1884)

Love, God, Fools, Way

“Ah, Dinamene,
Thou hast forsaken him
Whose love for thee has never ceased,
And no more will he behold thee on this earth!
How early didst thou deem life of little worth!
I found thee
— Alas, to lose thee all too soon!
How strong, how cruel the waves!
Thou canst not ever know
My longing and my grief!
Did cold death still thy voice
Or didst thou of thyself
Draw the sable veil before thy lovely face?
O sea, O sky, O fate obscure!
To live without thee, Dinamene, avails me not.”

Luís de Camões (1524–1580) Portuguese poet

Ah! minha Dinamene! Assim deixaste
Quem não deixara nunca de querer-te!
Ah! Ninfa minha, já não posso ver-te,
Tão asinha esta vida desprezaste!Como já pera sempre te apartaste
De quem tão longe estava de perder-te?
Puderam estas ondas defender-te
Que não visses quem tanto magoaste?Nem falar-te somente a dura Morte
Me deixou, que tão cedo o negro manto
Em teus olhos deitado consentiste!Oh mar! oh céu! oh minha escura sorte!
Que pena sentirei que valha tanto,
Que inda tenha por pouco viver triste?
Lyric poetry, Não pode tirar-me as esperanças, Ah! minha Dinamene! Assim deixaste

Love, Life, Death, Fate

“Ever wish you could draw a few diagrams, press a button, and have a working software system that meets your needs? Sound like magic? Perhaps, but that’s a major part of the Executable UML vision. The basic idea is that you will use a CASE tool to develop detailed UML diagrams and then supplement them by specifications written in a formal language, presumably the OMG’s Object Constraint Language (OCL). The basic idea behind Executable UML is that systems can be modeled at a higher level of abstraction than source code, simulated to support validation of your efforts, and then translated into efficient code. This higher-level of abstraction should help to avoid premature design, enable you to change your system as your requirements evolve, and to delay implementation decisions until the last minute.”

Scott W. Ambler (1966) Canadian software engineer/consultant/author

Source: Agile Modeling: Effective Practices for eXtreme Programming and the Unified Process (2002), p. 172

Idea, Support, Decision, Effort

“When I use a direct manipulation system—whether for text editing, drawing pictures, or creating and playing games—I do think of myself not as using a computer but as doing the particular task. The computer is, in effect, invisible. The point cannot be overstressed: make the computer system invisible.”

Donald A. Norman book The Design of Everyday Things

Source: The Design of Everyday Things (1988, 2002), Ch. 6, p. 185.

Game, Thinking

“Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius.
Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy”

George Wallis

design as well as draw! George Wallis. " Art Education for the people. No IV. The principles of Fine Art as Applied to Industrial Purposes http://books.google.com/books?id=l55GAQAAIAAJ&pg=PA231." In: People's & Howitt's Journal: Of Literature, Art, and Popular Progress, Vol. 3. John Saunders ed. 1847, p. 231.

Men, Beauty, Art, Intelligence

“The State is competent to assign duties and draw the line between good and evil only in its immediate sphere. Beyond the limits of things necessary for its well-being, it can only give indirect help to fight the battle of life by promoting the influences which prevail against temptation, — religion, education, and the distribution of wealth.”

John Dalberg-Acton, 1st Baron Acton (1834–1902) British politician and historian

p, 125
The History of Freedom in Antiquity (1877)

Life, Education, Religion, Evil

“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph 1911 - 1914

Color, Painting

“At the present time administration is more an art than a science; in fact there are those who assert dogmatically that it can never be anything else. They draw no hope from the fact that metallurgy, for example, was completely an art several centuries before it became primarily a science and commenced its great forward strides after generations of intermittent advance and decline.”

Luther H. Gulick (1892–1993) American academic

Source: "Science, values and public administration," 1937, p. 189; cited in: W. Bartley Hildreth et al. (eds.), Handbook of Public Administration, Second Edition,1997, p. 754

Hope, Art, Science, Time

“…lift up your hearts and draw new faith from the resurrection of our people… Ultimately we shall live to see the kingdom of freedom, honour and social justice. Long live Germany!”

Adolf Hitler (1889–1945) Führer and Reich Chancellor of Germany, Leader of the Nazi Party

Speech at the Lustgarten in Berlin, April 4, 1932. As quoted in Hitler's Berlin: Abused City, Thomas Friedrich, Yale University Press, 2012, p. 272.
1930s

People, Faith, Justice, Freedom

“Spring. All the things an artist must be: poet, explorer of nature, philosopher! And now I have become a bureaucrat as well as by compiling a large, precise catalogue of all my artistic productions ever since my childhood. I have left out only the school drawings, studies of nudes, etc., because they lack creative self-sufficiency.”

Paul Klee (1879–1940) German Swiss painter

Diary entry (Spring 1911), # 895, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1911 - 1914

School, Spring, Nature, Study

“A bachelor
May thrive by observation, on a little.
A single life's no burden: but to draw
In yokes is chargeable, and will require
A double maintenance.”

John Ford (dramatist) (1586–1639) dramatist

The Fancies, Chaste and Noble Act I, sc. iii.

Life

“God draws no distinction between Himself and us. God opens up the union of the very godhead (Trinity), and brings us into it.”

Paul Crouch (1934–2013) American broadcster

Praise-a-thon TBN (November 1990) http://www.bereanfaith.com/heresy.php?action=aquote&id=2

God

“My dearest little Julie, I love you as I lie dying; I shall still love you when I am dead. I beg of you, do not cry; this parting was inevitable. I would have liked to be with you until you married – Work hard and be good as you have always been; you have never caused me a moment's sorrow in you little life [Julie is 16, then]. You have beauty, good fortune; use them well. I think the best thing would be to live with your cousins in the Rue de Villejust, but I do not wish to force you to do anything. Give a memento of me to you aunt Edma [Berthe's sister], and to your cousins too; and give Monet's [painting] 'Bateaux en reparation' to your cousin Gabriel. Tell M. Degas that if he found a museum he is to choose a Manet [of her Manet paintings]. A keepsake for Monet; one for Renoir, and one of my drawings for Bartolomé. Give something to the two concierges. Do not cry, I love you more than I can tell you.”

Berthe Morisot (1841–1895) painter from France

Quote of Berthe's last letter to daughter Julie, End of Feb. 1895; as cited in Berthe Morisot, Jean-Dominique Rey; translation in English, Flammarion, S.A. (ISBN: 978-2-08-020345-8), Paris, 2016, p. 217
1881 - 1895

Love, Life, Lie, Beauty

“It has been a general rule for drawing deeds and other legal documents from the earliest times, which one is taught when one first becomes a pupil to a conveyancer, never to change the form of words unless you are going to change the meaning, and it would be as well if those who are engaged in the preparation of Acts of Parliament would bear in mind that that is the real principle of construction.”

Colin Blackburn, Baron Blackburn (1813–1896) British judge

Hadley v. Perks (1866), L. R. 1Q. B. 457.

Change, Time

“When I draw, 1 am as pre-occupied before a gas-jet as before a human being.”

Albert Marquet (1875–1947) French artist

Lane, The Paintings of Albert Marquet p. 188; as quoted in 'Appendix' of Albert Marquet and the Fauve movement, 1898-1908, Norris Judd, published 1976, - translation Norris Judd - Thesis (A.B.)--Sweet Briar College, p. 116

“I have studied the art of the ancients and the art of the moderns, avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of "art for art's sake". No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality.”

Gustave Courbet (1819–1877) French painter

1840s - 1850s, Realist Manifesto', 1851/1855

Art, Study

“An internal combustion engine is 'clearly' a system; we subscribe to this opinion because we know that the engine was designed precisely to be a system. It is, however, possible to envisage that someone (a Martian perhaps) totally devoid of engineering knowledge might at first regard the engine as a random collection of objects. If this someone is to draw the conclusion that the collection is coherent, forming a system, it will be necessary to begin by inspecting the relationships of the entities comprising the collection to each other. In declaring that a collection ought to be called a system, that is to say, we acknowledge relatedness. But everything is related to everything else. The philosopher Hegel enunciated a proposition called the Axiom of Internal Relations. This states that the relations by which terms are related are an integral part of the terms they relate. So the notion we have of any thing is enriched by the general connotation of the term which names it; and this connotation describes the relationship of the thing to other things… [There are three stages in the recognition of a system]… we acknowledge particular relationships which are obtrusive: this turns a mere collection into something that may be called an assemblage. Secondly, we detect a pattern in the set of relationships concerned: this turns an assemblage into a systematically arranged assemblage. Thirdly, we perceive a purpose served by this arrangement: and there is a system.”

Anthony Stafford Beer (1926–2002) British theorist, consultant, and professor

Source: Decision and control: the meaning of operational research and management cybernetics, 1966, p. 242.

Knowledge, Parting

“He told me, he was just in the same situation [i. e. in a garden], as when formerly, the notion of gravitation came into his mind. It was occasion'd by the fall of an apple, as he sat in a contemplative mood. Why should that apple always descend perpendicularly to the ground, thought he to him self. Why should it not go sideways or upwards, but constantly to the earths centre? Assuredly, the reason is, that the earth draws it. There must be a drawing power in matter.”

William Stukeley (1687–1765) English antiquarian

A Hastings White (ed.) Memoirs of Sir Isaac Newton's Life (1936) pp. 19-20. (1752)
Relating a conversation with Sir Isaac Newton.

Mood

“It was around 1935 or 1936 that I first had the idea of compiling a history of art – not in the usual way, but considering only the fads that have succeeded one another down through the ages. For example, the infatuation in Roman times with broken pleats and heads turned in profile.... or during the epoch of Pérugin and Raphael, a certain blue that appears everywhere. I wanted to draw up an inventory of these vogues. To this end I visited museums, took notes in little notebooks, and made demonstrative sketches of paintings. For this purpose I preferred bad paintings, by which I mean those held to be mediocre by aesthetes, but in which these fads that interested me were clearly in evidence.”

Jean Dubuffet (1901–1985) sculptor from France

Source: posthumous, Batons rompus, 1986, pp. 17, 18

Age, Art, Way, History

“No farther seek his merits to disclose,
Or draw his frailties from their dread abode,
(There they alike in trembling hope repose,)
The bosom of his Father and his God.”

Thomas Gray (1716–1771) English poet, historian

The Epitaph, St. 3 Elegy Written in a Country Churchyard http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc (written 1750, publ. 1751) Variant: No farther seek his merits to disclose, Or draw his frailties from their dread abode, (There they alike in trembling hope repose,) The bosom of his Father and his God.

God, Hope

“O all ye exorcizers come and exorcize now, and ye clergymen draw nigh and clerge,
For I wish to be purged of an urge.
It is an irksome urge, compounded of nettles and glue,
And it is turning all my friends back into acquaintances, and all my acquaintances into people who look the other way when I heave into view.”

Ogden Nash (1902–1971) American poet

Good Intentions (1942), So Does Everybody Else, Only Not So Much

People, Way

“I can't wait 'til you draw something really complicated, like the Brooklyn Bridge or a lobster. You'll probably send me a singing telegram.”

Cassandra Clare The Mortal Instruments

Jace to Clary, pg. 325
The Mortal Instruments, City of Bones (2007)

Singing, Waiting

“What I consider to do with the new course [at The Academy of Art in The Hague] is: in the morning doing large plaster and in the afternoon painting or drawing after Nature, what I am doing already for some time, and [drawing] horses in the Municipal Horse Riding School. The Director is Sir Krüger, a very charming German who has seen of course many horses and so he knows how to show me the mistakes I make, which are not few.”

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:) Wat ik mij voorstel met de nieuwe cursus te doen is: 's morgens grootpleister en 's middags schilderen of naar de natuur teekenen. waarmede ik reeds eenige tijd bezig ben. en paarden in de Stadsrijschool. De Dir. daarvan is den Heer Krüger een alleraardigste duitscher, die nat. veel paarden gezien heeft en me dus de fouten weet te zeggen, die ik maak en die niet weinige zijn. early quote of Breitner in his letter to his Maecenas A.P. van Stolk, 11 April 1878; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/585 before 1890

School, Art, Nature, Time

“Matt Lauer: Do you think Muammar Gaddafi has to go as a result of this military intervention?
Gingrich: I think that now — let me draw a distinction. I would not have intervened. I think there were a lot of other ways to affect Gaddafi. I think there are a lot of allies in the region that we could have worked with. I would not have used American and European forces, bombing Arab and that country.”

Newt Gingrich (1943) Professor, Speaker of the United States House of Representatives

Today Show
NBC
2011-03-23
2010s

Way, Thinking, Country

“I had to find a way in each picture to change the drawing, shaping and tactile qualities to make these elements expressive; as the color had subsumed the possibility the possibility of these parts being on a equal basis of expressiveness.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 10
Conversation with Karen Wilkin' (1986-1988)

Color, Way, Change, Parting

“Fair tresses man's imperial race ensnare,
And beauty draws us with a single hair.”

Alexander Pope The Rape of the Lock

Canto II, line 27. Compare: "No cord nor cable can so forcibly draw, or hold so fast, as love can do with a twined thread", Robert Burton, Anatomy of Melancholy, Part iii, Section 2, Membrane 1, Subsection 2.
The Rape of the Lock (1712, revised 1714 and 1717)

Beauty

“In science, conjecture drives both experiment and theory for it is only by forming conjectures (hypotheses) that we can make the direction of our experiments and theories informed. If such and such is true, then I should be able to do this experiment and look for this particular result or I should be able to find this theoretical formulation. Conversely, experiment and theory drive conjecture. One makes a startling observation or has a sudden insight and begins to speculate on its significance and implications and to draw possible conclusions”

Robert Curl (1933) American chemist

conjecture in his Nobel Lecture http://nobelprize.org/nobel_prizes/chemistry/laureates/1996/curl-lecture.html, December 7, 1996, Dawn of the Fullerenes: Experiment and Conjecture

Science

“There is another little tax called the increment tax. For the future what will happen? We mean to value all the land in the kingdom. And here you can draw no distinction between agricultural land and other land, for the simple reason that East and West Ham was agricultural land a few years ago. And if land goes up in the future by hundreds and thousands an acre through the efforts of the community, the community will get 20 per cent. of that increment.”

David Lloyd George (1863–1945) Former Prime Minister of the United Kingdom

Speech in Limehouse, East London (30 July 1909), quoted in Better Times: Speeches by the Right Hon. D. Lloyd George, M.P., Chancellor of the Exchequer (London: Hodder & Stoughton, 1910), p. 147.
Chancellor of the Exchequer

Communication, Effort, Future

“…[Bob Kane] had an idea for a character called "Batman", and he'd like me to see the drawings. I went over to Kane's, and he had drawn a character who looked very much like Superman with kind of … reddish tights, I believe, with boots … no gloves, no gauntlets … with a small domino mask, swinging on a rope. He had two stiff wings that were sticking out, looking like bat wings. And under it was a big sign … BATMAN.”

Bill Finger (1914–1974) American comic strip and comic book writer

[Jim Steranko, The Steranko History of Comics, Supergraphics, Reading, Pa., 1970, ISBN 0-517-50188-0, p.44]

Idea

“Take care for this, don't start with the sentiment first, [because] that's where a piece of art is ending with - but the good start is drawing good and right. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) denk daar goed om, niet eerst het sentiment, daar eindigt een kunststuk mede, maar goed en juist teekenen is het goede begin.
In a letter of Anton Mauve to his student , from Laren 1885; as cited in Anton Mauve, (exhibition catalog of Teylers Museum, Haarlem / Laren, Singer), ed. De Bodt en Plomp, 2009, p. 120
1880's

Art

“Mathematics is the science which draws necessary conclusions.”

Benjamin Peirce Linear Associative Algebra

§ 1.
Linear Associative Algebra (1882)

Mathematics, Science

“The little rectangle contradicts the square. And the square is authoritative... The rectangle is pleasant, whereas the square is not.... It's too stiff, too authoritative. My paintings are made up of little rectangles, not little squares There was a scholar who dug up a Tantric drawing that was just like my grid, and it was made of rectangles, too, just exactly like mine... I was surprised. I didn't think anybody had made a grid quite like that.”

Agnes Martin (1912–2004) American artist

1980 - 2000, Perfection Is in the Mind', 1995

Thinking, Painting

“Your case no tame expedients will afford,
Resolve on death or conquest by the sword,
Which for no less a stake than life you draw,
And self-defence is Nature's eldest law.”

John Dryden Absalom and Achitophel

Pt. I, lines 455–458.
Absalom and Achitophel (1681)

Life, Death, Law, Nature

“There is not a canvas of that time that does not foreshadow the overthrow of the foundations on which the human race thought itself firmly established, where it felt itself secure. At the moment when the Ballets Russes were at their height, when the Neo-Impressionists and Fauves had dispensed with the drawing style of the Renaissance because it could not contain the purity of the colour - these humbly painted, angular, grey, ascetic pictures were, really, an unwelcome sight. It was not any upheaval of a geological nature that they prefigured, but a cataclysm in the human order. No tremor of the earth was registered, but a tremor of the spirit that disturbed the intellect of civilised man, too long the slave of his immobilised senses. At last he was beginning to suspect that something dangerous was approaching.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

Nature, Sense, Time, Painting

“I recognize fully that you do not draw well, my dear Lucien [his son, also painter]. I told you any number of times that it is essential to have known forms in the eye and in the hand. It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.”

Camille Pissarro (1830–1903) French painter

In a letter, 1883, to his son Lucien; as quoted by C., & Rewald, in Camille Pissarro: Letters to his son Lucien, New York: Pantheon Books, 1943 p. 32
1880's

Time

“In its most general form and from the point of view of physics, love is the internal, affectively apprehended, aspect of the affinity which links and draws together the elements of the world, centre to centre. This is how it has been understood by the great philosophers from Plato, the poet, to Nicolas of Cusa and other representatives of frigid scholasticism. Once this definition has been accepted, it gives rise to a series of important consequences. Love is power of producing inter-centric relationship. It is present, therefore (at least in a rudimentary state), in all the natural centres, living and pre-living, which make up the world; and it represents, too, the most profound, most direct, and most creative form of inter-action that it is possible to conceive between those centres. Love, in fact, is the expression and the agent of universal synthesis.”

Pierre Teilhard De Chardin (1881–1955) French philosopher and Jesuit priest

pp. 70–71 https://archive.org/stream/ActivationOfEnergy/Activation_of_Energy#page/n65/mode/2up Activation of Energy (1976)

Love, World, Nature, Universe

“[to] think, in a certain way, of the power and severity of Romanesque paintings... Go to the beach and make graphic signs in the sand, draw by pissing on the dry ground, design in space by recording the songs of the birds, the sounds of water and wind.... and the chant of insects.”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

'Working notes of Miro, 1940 – 1941'; as quoted in: Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69
1940 - 1960

Way, Bird, Thinking, Water

“That's wrong," she declared. "Everyone must have one thing that they can excel at. It's just a matter of drawing it out, isn't it? But school doesn't know how to draw it out. It crushes the gift. It's no wonder most people never get to be what they want to be. They just get ground down.”

Haruki Murakami (1949) Japanese author, novelist

Source: Hardboiled Wonderland and the End of the World (1985), Chapter 19: Hamburgers,Skyline and Deadline

People, School

“A new view of the role of art and science in cartography is clearly needed. It is probably a mistake to view maps as objects that contain varied amounts of scientific or artistic content for which we must determine an appropriate balance (as both Keates, 1984, and Robinson, 1952, seem to, with Keates arguing for more art and Robinson for more science). Instead, it makes more sense to consider complementary artistic and scientific approaches to studying and improving maps, both of which can be applied to any given cartographic problem. The artistic approach is intuitive and holistic, achieving improvements through experience supplemented by critical examination (where critical examination implies expert appraisal of the results of our cartographic decision-making efforts). It draws on science in using perspective, understanding of human vision, color theory, and so on.”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 9

Art, Color, Understanding, Problem

“Good judgement is through good drawing – from the nervous system to the sensory of the brain it is the combination of eurythmics, euphony and poetry, and when the good draughtsman draws, the muses come to dance. Then the imagination is given full play, and design happens. They then become the Muses.”

David Bomberg (1890–1957) painter

"The Bomberg Papers", An Anthology From X (Oxford University Press, 1988), p. 90.

Imagination, Dance

“The Etch a Sketch is the toy for drawing that makes drawing almost impossible. It simulates what drawing would be like if you had crippling arthritis.”

Jared Logan

The Wall Street Journal, "Comedy Comes Clean," December 1, 2006, page W12, column 1

“Each one of those ['Ellipsoids'] took at least three months [each]. I was starting those, when I was still at the Düsseldorf Academy. There was a very nice man in the workshop there who was very helpful in the process of making them. And they were extremely complicated – to get the shape right and everything. I mean one could get them sent to a factory, and have them produced according to these computer drawings, but somehow I didn’t really want to do this at the time – and also I did not have the money to do that anyway. Once I tried to have one fabricated in this way, but when it came back there was nothing there somehow. It was not like the ones that were made in the workshop”

Isa Genzken (1948) German sculptor

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

Money, Way, Time, Help

“Be so kind and write me by return, with drawing and explanation, how I can make a [photo] camera. - as I then saw at your home. (translation from the original Dutch: Fons Heijnsbroek)”

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

version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Wees zoo goed en meld me per omgaande, met teekening en uitleg, hoe ik een [foto]-camera kan maken. - zooals ik toen bij jou gezien heb.
Quote of Breitner's letter to his friend H. van der Weele, 14 July 1883 or 1889; as cited by R. Bergsma, & P.H. Hefting, in George Hendrik Breitner 1857-1923, Bussum 1994, p. 21
There are different opinions about the year Breitner started using a photo-camera; they all differ between 1883 and 1889
before 1890

Home, Photo

“Nothing is more certain than that whatever has to court public favor for its support will sooner or later be prostituted to utilitarian ends. The educational institutions of the United States afford a striking demonstration of this truth. Virtually without exception, liberal education, that is to say, education centered about ideas and ideals, has fared best in those institutions which draw their income from private sources. They have been able … to insist that education be not entirely a means for breadwinning. This means that they have been relatively free to promote pure knowledge and the training of the mind. … In state institutions, always at the mercy of elected bodies and of the public generally, and under obligation to show practical fruits for their expenditure of money, the movement toward specialism and vocationalism has been irresistible. They have never been able to say that they will do what they will with their own because their own is not private. It seems fair to say that the opposite of the private is the prostitute.”

Richard M. Weaver (1910–1963) American scholar

Source: Ideas have Consequences (1948), pp. 136-137.

Money, Truth, Education, Idea

“In Darwin's time no serious attempt had been made to examine the manifestations of variability. A vast assemblage of miscellaneous facts could formerly be adduced as seemingly comparable illustrations of the phenomenon "Variation." Time has shown this mass of evidence to be capable of analysis. When first promulgated it produced the impression that variability was a phenomenon generally distributed amongst living things in such a way that the specific divisions must be arbitrary. When this variability is sorted out, and is seen to be in part a result of hybridisation, in part a consequence of the persistence of hybrids by parthenogenetic reproduction, a polymorphism due to the continued presence of individuals representing various combinations of Mendelian allelomorphs, partly also the transient effect of alteration in external circumstances, we see how cautious we must be in drawing inferences as to the indefiniteness of specific limits from a bare knowledge that intermediates exist.”

William Bateson (1861–1926) British geneticist and biologist

Source: Problems In Genetics (1913), p. 15

Way, Knowledge, Time, Parting

“I just draw what I think is funny, and I hope other people think it is funny, too.”

Charles M. Schulz (1922–2000) American cartoonist

Address to the Sonoma County Press Club as quoted in the Sonoma County Press Democrat (13 February 2000)

People, Hope, Thinking

“In the ice of solitude man becomes most inexorably a question to himself, and just because the question pitilessly summons and draws into play his most secret life he becomes an experience to himself.”

Martin Buber (1878–1965) German Jewish Existentialist philosopher and theologian

Source: Between Man and Man (1965), p. 150

Life, Secret, Question, Solitude

“The life we have at this present is the gift of God, "in whom we live, move, and are:" and therefore is he called Jehovah. For the which life as we should be thankful, so we may not in any wise use it after our own fantasy, but to the end for the which it is given and lent us; that is, to the setting forth of God's praise and glory, by repentance, conversion, and obedience to his good will and holy laws: whereunto his long-suffering doth, as it were, even draw us, if our hearts by impenitency were not hardened. And there fore our life in the scripture is called a "walking:" for that as the body daily draweth more and more near his end, that is the earth, even so our soul draweth daily more and more near the death, that is salvation or damnation, heaven or hell.”

John Bradford (1510–1555) English Protestant Reformer and martyr

To the Christian Reader, John Bradford Wisheth the True Knowledge and Peace of Jesus Christ, Our Alone and Omnisufficient Saviour. http://www.godrules.net/library/bradford/07bradford5.htm Sermon on Repentence

Life, Death, God, Law

“People have always said - those words, 'too conservative,' is fairly relative. I'm sure that they probably said that about Thomas Jefferson and George Washington and Benjamin Franklin. And truly, when you look at the Constitution and our founding fathers and their writings, the things that made this country great, you might draw those conclusions: That they were conservative. They were fiscally conservative and socially conservative.”

Sharron Angle (1949) Former member of the Nevada Assembly from 1999 to 2007

interview with New York Times, 2010-08-12
Adam
Nagourney
Tea Party Choice Scrambles in Taking On Reid in Nevada
New York Times
03624331
2010-08-17
http://www.nytimes.com/2010/08/18/us/politics/18vegas.html
Interview With Sharron Angle
2010-08-18
New York Times
03624331
http://www.nytimes.com/2010/08/18/us/politics/18angle.html

People, Country

“Ric Flair was still the biggest draw in either company(in 1998).”

Bryan Alvarez (1975) Professional wrestler, editor and publisher

Quoted from The Death of WCW (ECW Press, 2006)

“Involuntarily and without any definite motive, I had a thought that often occurs to me. Not only did I begin drawing relatively late in life, but it may also be that I shall not live for so very many years to come… I think I may presume without rashness: that my body will keep a certain number of years "quand bien meme" - a certain number, say between six and ten years for instance… This is the period on which I reckon firmly.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo, from The Hague, Summer 1883; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 309), p 23 1880s, 1883

Life, Motivation, Thinking

“I hold that the first form of a body is the first corporeal mover. But this is light, which as it multiplies itself and expands without the body of matter moving with it, makes its passage instantaneously through the transparent medium and is not motion but a state of change. But, indeed, when light is expanding itself in different directions it is incorporated with matter, if the body of matter extends with it, and it makes a rarefaction or augmentation of matter; for when light is itself charged with the body of matter, it produces condensation or rarefaction. So when light generates itself in one direction drawing matter with it, it produces local motion; and when light within matter is sent out and what is outside is sent in, it produces qualitative change. From this it is clear that corporeal motion is a multiplicative power of light, and this is a corporeal and natural appetite.”

Robert Grosseteste (1175–1253) English bishop and philosopher

see De Luce Tr. Ludwig Baur (1912) pp. 51-52
De Luce seu de Inchoatione Formarum (c. 1215-1220)

Nature, Light, Change

“Owners of dogs will have noticed that, if you provide them with food and water and shelter and affection, they will think you are god. Whereas owners of cats are compelled to realize that, if you provide them with food and water and shelter and affection, they draw the conclusion that they are gods.”

Christopher Hitchens (1949–2011) British American author and journalist

2007-11-06
The Portable Atheist: Essential Readings for the Nonbeliever
Christopher Hitchens
978-0306816086
http://quotes.pink/god/quote-8195/
2000s, 2007

God, Food, Dogs, Cats

“Make a drawing. Start it all over again, trace it. Start it and trace it again.”

Edgar Degas (1834–1917) French artist

posthumous quotes, The Shop-Talk of Edgar Degas', (1961)

“What draws us to him so closely is that he combined a disillusioned estimate of human nature sufficient to launch twenty little cynics, with a craving for love any sympathy urgent enough to turn a weaker nature into a benign sentimentalist.”

Logan Pearsall Smith (1865–1946) British American-born writer

recounting Desmond McCarthy’s description of Samuel Johnson, “English Aphorists,” p. 138
Reperusals and Recollections (1936)

Love, Nature

“It is to be emphasized that no matter how many [amplitude] arrows we draw, add, or multiply, our objective is to calculate a single final arrow for the event. Mistakes are often made by physics students at first because they do not keep this important point in mind. They work for so long analyzing events involving a single photon that they begin to think that the arrow is somehow associated with the photon”

Richard Feynman book QED: The Strange Theory of Light and Matter

rather than with the event
Source: QED: The Strange Theory of Light and Matter (1985), p. 75-76

Thinking

“Faith is the nail which fastens the soul to Christ; and love is that grace that drives the nail to the head. Faith takes hold of Him, and love helps to keep the grip. Christ dwells in the heart by faith, and He burns in the heart by love, like a fire melting the breast. Faith casts the knot, and love draws it fast.”

Thomas Erskine (1788–1870) Scottish theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 229.

Love, Faith, Soul, Help

“I spent a long time, my dear Suzanne, looking for your photograph - I eventually found the album in the table in the drawing room, so I can look at your comforting face from time to time. I woke up last night thinking I heard you calling me... Every day we're expecting a major offensive to break through the iron ring that surrounds us. We are counting on the provinces, because we can't just send our little [French] army of to be massacred. Those devious Prussians may well try to starve us out.”

Edouard Manet (1832–1883) French painter

Quote from Manet's letter to his wife, Suzanne Leenhof 23 Oct. 1870, a cited in The private lives of the Impressionists Sue Roe, Harpen Collins Publishers, New York 2006, p. 78
the Prussian army was encircling Paris completely in Autumn, 1870; Manet was locked up, but had sent his wife Suzanne to the county before, out of dangerous Paris
1850 - 1875

Thinking, Time, Night