Quotes about mood

„The memory has as many moods as the temper, and shifts its scenery like a diorama.“

—  George Eliot, book Middlemarch

Source: Middlemarch

„I’m not mad. I’m in a perfectly happy mood, you asshole.“

—  Kurt Cobain American musician and artist 1967 - 1994

„If a painting has a soulful effect on the viewer, if it puts his mind into a soulful mood, then it has fulfilled the first requirement of a work of art. However bad it might be in drawing, color, handling, etc.“

—  Caspar David Friedrich Swedish painter 1774 - 1840

Quote of Friedrich's letter 8 Feb. 1809, to 'Akademiedirektor Schulz'; as cited by Helmut Bôrsch-Supan and Karl Wilhelm Jàhnig in Caspar David Friedrich: Gemâlde, Druckgraphik und bildmassige Zeichnungen (Munich: Prestel, 1973), 182-83, esp. 183; translation, David Britt - note 117 http://d2aohiyo3d3idm.cloudfront.net/publications/virtuallibrary/0892366745.pdf
1794 - 1840

„A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.“

—  Stanley Kubrick American film director, screenwriter, producer, cinematographer and editor 1928 - 1999

„In contrast to the flux and muddle of life, art is clarity and enduring presence. In the stream of life, few things are perceived clearly because few things stay put. Every mood or emotion is mixed or diluted by contrary and extraneous elements. The clarity of art—the precise evocation of mood in the novel, or of summer twilight in a painting—is like waking to a bright landscape after a long fitful slumber, or the fragrance of chicken soup after a week of head cold.“

—  Yi-Fu Tuan Chinese-American geographer 1930

Passing Strange and Wonderful: Aesthetics, Nature, and Culture, ch. 10 (1993).

„I have come to the frightening conclusion that I am the decisive element in the classroom. It is my personal approach that creates the climate. It is my daily mood that makes the weather. As a teacher, I possess a tremendous power to make a child's life miserable or joyous. I can be a tool of torture or an instrument of inspiration. I can humiliate or humor, hurt or heal. In all situations, it is my response that decides whether a crisis will be escalated or de-escalated, a child humanized or de-humanized.“

—  Haim Ginott psychologist 1922 - 1973

Quoted in Fair isn't always equal: assessing & grading in the differentiated classroom By Rick Wormeli, p. 9

„The point is that one sees things at different moments with different eyes. Differently in the morning then in the evening. The way in which one sees also depends on one's mood…. coming in from a dark bedroom in the morning into the sitting room one will, for example, see everything in a bluish light. Even the deepest shadows are topped with bright light. After a while one will accustom oneself to the light and the shadows will be deeper and everything will be seen more sharply. If an atmosphere of this kind is being painted it won't do merely to sit and gaze at everything 'just as one sees'. One must paint precisely the fleeting moment of significance – one must capture the exact experience separating that significant moment from the next – the exact moment when the motif struck one… In some circumstances a chair may seem to be just as interesting as a human being. In some way or another it must have caught the interest in which case the onlooker's interest must somehow be engaged in the same way. It's not the chair that should be painted, but what the person has felt at the sight of it [written in Saint Cloud, 1890 - probably related to the chair of Vincent van Gogh“

—  Edvard Munch Norwegian painter and printmaker 1863 - 1944

Quote of Munch from: T 2770, (1890); as cited in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 83-84
1880 - 1895

„I have mood poisoning. Must be something I hate.“

—  Marilyn Manson American rock musician and actor 1969

„I will not seek the battle-field —
The men I there should meet,
What have they done to me to make
Shedding their life-blood sweet?
It is the veriest madness man
In maddest mood can frame,
To feed the earth with human gore,
And then to call it fame.
I have been wrong'd; but were my wrong
The deadliest wrong ere done,
I would not slay my enemy,
But bid him still live on :—
And I should deem my vengeance more
Than the death-wound in strife—
What ills can death inflict like those
Heap'd on each hour of life?“

—  Letitia Elizabeth Landon English poet and novelist 1802 - 1838

19th August 1826) Metrical Fragments - No. 1 (under the pen name Iole
The London Literary Gazette, 1826

„I rather feel that painting is a form of drawing and the painting that I like has a form of drawing to it. I don't see how it could be disassociated from the nature of drawing.... I find in many cases a drawing has been the subject of the painting – that would be a preliminary stage to that particular painting.... the painting can develop something that is not at all related to the drawing and have no particular mood about it at all; it's just a cool kind of reality that has a series of involvements within it; and the pure excitement of those things happening within this form is enough for that particular panting..“

—  Franz Kline American painter 1910 - 1962

n.p.
1960's, Living Art, 1963

„Nature's purpose in relation to the visual arts is to provide stimulus — not imitation... From its ceaseless urge to create springs all Life — all movement and rhythm — time and light, color and mood — in short, all reality in Form and Thought.“

—  Hans Hofmann American artist 1880 - 1966

As quoted in Hans Hofmann (2000) by James Yohe
1970s and later

„Art deals with profound and simple moods.... Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.... he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it.“

—  Filippo Tommaso Marinetti Italian poet and editor, founder of the Futurist movement 1876 - 1944

quote from an interview in 'A Paris painter', H. Hapgood; in 'Globe and commercial Advertiser', 20 February 1913, p. 8 / 10
1910's

„Here, in seeing that Final Cause — causation at the call of self-posited aim or end — is the only full and genuine cause, we further see that Nature, the cosmic aggregate of phenomena and the cosmic bond of their law which in the mood of vague and inaccurate abstraction we call Force, is after all only an effect.“

—  George Holmes Howison American philosopher 1834 - 1916

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Limits of Evolution, p.39

„For me Ruisdael is the true man of poetry, the real poet. There is a world of sad, serious and beautiful thoughts in his paintings. They possess a soul and a voice that sounds deep, sad and dignified. They tell melancholic stories, speak of gloomy things and are witnesses of a sad spirit. I see him wander, turned in on himself, his heart opened to the beauties of nature, in accordance with his mood, on the banks of that dark gray stream that rustles and splashes along the reeds. And those skies!... In the skies one is completely free, untied, all of himself.... what a genius he is! He is my ideal and almost something perfect. When it storms and rains, and heavy, black clouds fly back and forth, the trees whiz and now and then a strange light breaks through the air, and falls down here and there on the landscape, and there is a heavy voice, a grand mood in nature; that is what he paints; that is what he [Ruysdael] is imaging.“

—  Gerard Bilders painter from the Netherlands 1838 - 1865

(version in original Dutch / citaat van Bilders' brief, in het Nederlands:) Ruisdael is voor mij de ware man der poezië, de echte dichter. Daar is een wereld van droevige, ernstige schone gedachten in zijn schilderijen. Ze hebben een ziel en een stem, die diep, treurig, deftig klinkt. Zij doen weemoedige verhalen, spreken van sombere dingen, getuigen van een treurige geest. Ik zie hem dwalen, in zichzelf gekeerd, het hart geopend voor de schoonheden der natuur, in overeenstemming met zijn gemoed, aan de oevers van die donkere grauwe stroom die ritselt en plast langs het riet. En die luchten!.. .In de luchten is men geheel vrij, ongebonden, geheel zichzelf.. ..welke een genie is hij [Ruisdael]! Hij is mijn ideaal en bijna iets volmaakts.Als het stormt en regent, en zware, zwarte wolken heen en weer vliegen, de bomen suizen en nu en dan een wonderlijk licht door de lucht breekt en hier en daar op het landschap neervalt, en er een zware stem, een grootse stemming in de natuur is, dat schildert hij, dat geeft hij weer.
Source: 1860's, pp. 51+52, - quote from Bilders' diary, 24 March 1860, written in Amsterdam

„There are two things you need for a jolly good hymn. The first is a set of words that expresses the mood or sentiment of the worshipper. The second—and perhaps even more important—is a good tune … with a simple popular melody.“

—  John Betjeman English poet, writer and broadcaster 1906 - 1984

citation needed

„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 English antiquarian 1687 - 1765

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

„Subjectively the possession of a role factor is felt as a 'mental set' which modifies all ordinary responses. The very same stimulus is perceived in a different way when one is in the role and when one is out of it… Technically, we handle this change of perception the same way in a role as in a mood—both of which can intrude on the ordinary personality — by this special factor, L, which can be called a modulator factor. A modulator factor comes into action only when the usual ordinary 'focal stimulus' comes into the orbit of a set of role cues which we may call the 'ambient' or surrounding stimulus.“

—  Raymond Cattell British-American psychologist 1905 - 1998

Source: The Scientific Analysis of Personality, 1965, p. 160

„Imagine a book of unexplained mysteries written by a contemporary of Shakespeare. It might include the mystery of the falling stars that sweep through the sky foretelling disaster; the mystery of the Kraken, the giant sea devil with 50-foot tentacles; the mystery of monster bones, sometimes found in caves or on beaches. Such a book would be a curious mixture of truth and absurdity, fact and legend. We would all feel superior as we turned its pages and murmured: "Of course, they didn't know about comets and giant squids and dinosaurs." If this book should happen to find its way into the hands of our remote descendants, they may smile pityingly and say: "It's incredible to think that they knew nothing about epsilon fields or multiple psychic feedback or cross gravitational energies. They didn't even know about the ineluctability of time."“

—  Colin Wilson author 1931 - 2013

But let us hope that such a descendant is in a charitable mood, and might add: "And yet they managed to ask a few of the right questions."
Source: Enigmas and Mysteries (1976), p. 142

„The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery.“

—  Sergei Prokofiev Ukrainian & Russian Soviet pianist and composer 1891 - 1953

Page 36-37; from his fragmentary Autobiography.