Quotes about nature
page 34

Grace Kelly photo

“(when children can watch without embarrassment their mothers breast feed brothers and sister) They realize the wholesomeness of sex and its naturalness. They don't put sex in the wrong proportion.”

Grace Kelly (1929–1982) American actress and Princess consort of Monaco

The Milwaukee Sentinel Princess Puts Motherhood First Jul 17, 1971

Bernard Mandeville photo
Russell Brand photo

“I have recently begun to look for people’s “vicar” nature. It is a technique I happened upon quite by chance, but I think it has a precedent in eastern mysticism. In Buddhism they talk of each of us having a “Buddha nature,” a divine self, the aspect of our total persona that is beyond our materialism and individualism. Well, that’s all well and good. What I’m into is people’s “vicar nature”—what a person would be like if they were a vicar. You can do it on anyone; it doesn’t have to be a vicar either if that isn’t your bag, it could be a rabbi or an imam or whatever. Simply think of someone you know, like, I dunno, Hulk Hogan, and imagine them as a devotional being. When I do, it helps me to see where their material persona intersects with a well-meaning spiritual aspect. Reverend Hogan would be, I suspect, a real fire-and-brimstone guy, spasming and retching in the pulpit but easily moved to tears, perhaps by the plight of a childless couple in his parish. Anyway, let’s not get carried away, it’s just a tool to help me see where a person’s essential self might dwell. Oddly, it’s really easy to do with atheists. I can imagine Richard Dawkins as a vicar in an instant, Calvinist and insistent. Dogmatic and determined, having a stern hearthside chat with a seventeen-year-old boy on the cusp of coming out. My point is that in spite of the lack of any theological title, Bobby Roth is like a priest.”

Revolution (2014)

Fritz Todt photo

“I could not imagine that we should make much of an effort to preserve remainders of natural beauty in conquered Poland.”

Fritz Todt (1891–1942) German engineer and senior Nazi figure

Quoted in "Technologies of Landscape: From Reaping to Recycling" - by David E. Nye - Nature - 2000 - Page 227.

“Then [speaking of his loosely figurative work of the 1930's, in Germany] I was still under nature, not that I was imitating it; now [1957] I am above nature. But everything comes from nature, I too am part of nature; my memory comes from nature, too.”

Hans Hofmann (1880–1966) American artist

Quote in: 'Hans Hofmann', Elizabeth Pollet, (interview of his 1957 Whitney Museum exhibition), Arts Magazine, May 1957 (article: 30-33)
1950s

Leszek Kolakowski photo
N.T. Wright photo
Anna Laetitia Barbauld photo
William Paley photo
François de La Rochefoucauld photo

“The passions are the only advocates which always persuade. They are a natural art, the rules of which are infallible; and the simplest man with passion will be more persuasive than the most eloquent without.”

Les passions sont les seuls orateurs qui persuadent toujours. Elles sont comme un art de la nature dont les règles sont infaillibles; et l'homme le plus simple qui a de la passion persuade mieux que le plus éloquent qui n'en a point.
Variant translation: The passions are the only orators who always persuade. They are like a natural art, of which the rules are unfailing; and the simplest man who has passion will be more persuasive than the most eloquent man who has none.
Maxim 8.
Reflections; or Sentences and Moral Maxims (1665–1678)

“Every investigation which is guided by principles of Nature fixes its ultimate aim entirely on gratifying the stomach.”

VII, 11. Compare: "I look upon it, that he who does not mind his belly will hardly mind anything else", Samuel Johnson, in Life of Johnson (Boswell). 29 Vol. ii. Chap. ix. 1763.
Deipnosophistae (2nd century)

André Maurois photo

“Old age is far more than white hair, wrinkles, the feeling that it is too late and the game finished, that the stage belongs to the rising generations. The true evil is not the weakening of the body, but the indifference of the soul. Upon crossing the shadow line, it is more the desire to act than the power to do so that is lost. Is it possible, after fifty years of experiences and disappointments, to retain the ardent curiosity of youth, the desire to know and understand, the power to love wholeheartedly, the certainty that beauty, intelligence, and kindness unite naturally, and to preserve faith in the efficacy of reason? Beyond the shadow line lies the realm of even, tempered light where the eyes, not being dazzled any more by the blinding sun of desire, can see things and people as they are. How is it possible to believe in the moral perfection of pretty women if you have loved one of them? How is it possible to believe in progress when you have discovered throughout a long and difficult life that no violent change can triumph over human nature and that it is only the most ancient customs and ceremonies that can provide people with the flimsy shelter of civilization? "What's the use?" says the old man to himself. This is perhaps the most dangerous phrase he can utter, for after having said: "What's the use of struggling?" he will say one day: "What's the use of going out?" then: "What's the use of leaving my room?" then: "What's the use of leaving my bed?" and at last comes "What's the use of living?"”

André Maurois (1885–1967) French writer

which opens the portals of death.
Un Art de Vivre (The Art of Living) (1939), The Art of Growing Old

Edwin Abbott Abbott photo

“Expediency therefore concurs with Nature in stamping the seal of its approval upon Regularity of conformation.”

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 7. Concerning Irregular Figures

Robert Grosseteste photo
Paul Newman photo
Frederick William Robertson photo
Wassily Kandinsky photo

“The more freely abstract the form becomes, the purer, and also the more primitive it sounds. Therefore, in a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completely abstracted... Here we are confronted by the question: Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract? This is a question that naturally arises, the answer to which is at once indicated by an analysis of the concordance of the two elements of form (the objective and the abstract). Just as every word spoken (tree, sky, man) awakens an inner vibration, so too does every pictorially represented object. To deprive oneself of the possibility of this calling up vibrations would be to narrow one's arsenal of expressive means. At least, that is how it is today. But apart from today's answer, the above question receives the eternal answer to every question in art that begins with 'must.”

Wassily Kandinsky (1866–1944) Russian painter

There is no 'must' in art, which is forever free.
Quote from: Kandinsky: Complete Writings on Art, eds. Kenneth C. Lindsay and Peter Vergo, 2 Vols. (transl. Peter Vergo); Boston: G.K. Hall & Co., (1982), p. 195; as cited in: Samet, Jennifer Sachs. Painterly Representation in New York, 1945-1975. Dissertation, The City University of New York, 2010. p. 25
1910 - 1915

William Cowper photo

“Thus happiness depends, as Nature shows,
Less on exterior things than most suppose.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Source: Table Talk (1782), Line 246.

Alfred Kinsey photo
George William Curtis photo

“The slavery debate has been really a death-struggle from that moment. Mr. Clay thought not. Mr. Clay was a shrewd politician, but the difference between him and Calhoun was the difference between principle and expediency. Calhoun's sharp, incisive genius has engraved his name, narrow but deep, upon our annals. The fluent and facile talents of Clay in a bold, large hand wrote his name in honey upon many pages. But time is already licking it away. Henry Clay was our great compromiser. That was known, and that was the reason why Mr. Buchanan's story of a bargain with J. Q. Adams always clung to Mr. Clay. He had compromised political policies so long that he had forgotten there is such a thing as political principle, which is simply a name for the moral instincts applied to government. He did not see that when Mr. Calhoun said he should return to the Constitution he took the question with him, and shifted the battle-ground from the low, poisonous marsh of compromise, where the soldiers never know whether they are standing on land or water, to the clear, hard height of principle. Mr. Clay had his omnibus at the door to roll us out of the mire. The Whig party was all right and ready to jump in. The Democratic party was all right. The great slavery question was going to be settled forever. The bushel-basket of national peace and plenty and prosperity was to be heaped up and run over. Mr. Pierce came all the way from the granite hills of New Hampshire, where people are supposed to tell the truth, to an- nounce to a happy country that it was at peace — that its bushel-basket was never so overflowingly full before. And then what? Then the bottom fell out. Then the gentlemen in the national rope -walk at Washington found they had been busily twining a rope of sand to hold the country together. They had been trying to compromise the principles of human justice, not the percentage of a tariff; the instincts of human nature and consequently of all permanent government, and the conscience of the country saw it. Compromises are the sheet-anchor of the Union — are they? As the English said of the battle of Bunker Hill, that two such victories would ruin their army, so two such sheet- anchors as the Compromise of 1850 would drag the Union down out of sight forever.”

George William Curtis (1824–1892) American writer

1850s, The Present Aspect of the Slavery Question (1859)

“Business-cycle theorists concerned themselves with why the economy naturally generated fluctuations in employment and output, [while the rest of the profession] continued to operate on the assumption that full employment was the natural, equilibrium position for the economy.”

Robert Aaron Gordon (1908–1978) American economist

Source: Business Fluctuations (1952), p. 340; as cited in: Thomas Cate (2013), An Encyclopedia of Keynesian Economics, Second edition. p. 347

Flower A. Newhouse photo
Parker Palmer photo
John Wesley photo

“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)

Yeshayahu Leibowitz photo

“Emancipation from the bondage of nature can only be brought about by the religion of Mitzvoth”

Yeshayahu Leibowitz (1903–1994) israeli intellectual

"Judaism, Human Values and the Jewish State" (1995)

W. Brian Arthur photo
John Jay photo
Julian of Norwich photo
Francis Bacon photo
J.M.W. Turner photo

“It is necessary to mark the greater from the lesser truth: namely the larger and more liberal idea of nature from the comparatively narrow and confined; namely that which addresses itself to the imagination from that which is solely addressed to the eye.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quoted in: Eric Shanes (2012) The Life and Masterworks of J.M.W. Turner, p. 23
undated quotes

Herbert Marcuse photo
Michele Bachmann photo
Letitia Elizabeth Landon photo
Lu Xun photo
Francesco Petrarca photo

“To obey Nature in all is best.”

Obedir a Natura in tutto è il meglio.
Canzone 361, st. 2
Il Canzoniere (c. 1351–1353), To Laura in Death

Jeane Kirkpatrick photo

“Neither nature, experience, nor probability informs these lists of 'entitlements', which are subject to no constraints except those of the mind and appetite of their authors.”

Jeane Kirkpatrick (1926–2006) American diplomat and Presidential advisor

Legitimacy and Force (1988), 130.
Jeane Kirkpatrick talking about a report of the Human Rights Commission in Geneva, which she termed "a letter to Santa Claus." as in A Human Rights Approach to Food and Nutrition Policies and Programmes by Peter L. Pellett http://www.unsystem.org/SCN/archives/scnnews18/ch06.htm, who quotes The Hypocrisy Of It All by Noam Chomsky (1999) http://www.middleeast.org/archives/1999_01_25.htm

Francis Galton photo
Paul Gauguin photo

“My Dear Mr. Pissarro; - I accept with pleasure the invitation that you and Mr. Degas were kind enough to extend to me. And naturally in that case I shall abide by all the rules that govern your Societe. Based on this decision, I also have the membership dues available. I will probably see you at Miss Latouche's and we will talk about this.”

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

Quote from a short letter of Gauguin, 3 April 1879, to French artist to Pissarro; as cited on 'Paul Gauguin Autograph Letter Signed to Camille Pissarro' - Nade D. Sanders http://natedsanders.com/paul_gauguin_autograph_letter_signed_to_camille_pi-lot13463.aspx
Gauguin accepted membership in the Societe Anonyme Cooperative des Artistes Peintres, Sculpteurs, Graveurs, formed in 1873 by Pissarro, Claude Monet, Pierre-Auguste Renoir and Alfred Sisley for the purpose of exhibiting their artwork independently
1870s - 1880s

Roberto Mangabeira Unger photo
Thomas Browne photo

“Art is the perfection of nature.”

Section 16
Religio Medici (1643), Part I

Zisi photo
Benjamin Peirce photo
Max Pechstein photo
Tanith Lee photo
Fred Astaire photo

“The fact that Fred and I were in no way similar - nor were we the best male dancers around never occurred to the public or the journalists who wrote about us…Fred and I got the cream of the publicity and naturally we were compared. And while I personally was proud of the comparison, because there was no-one to touch Fred when it came to "popular" dance, we felt that people, especially film critics at the time, should have made an attempt to differentiate between our two styles. Fred and I both got a bit edgy after our names were mentioned in the same breath. I was the Marlon Brando of dancers, and he the Cary Grant. My approach was completely different from his, and we wanted the world to realise this, and not lump us together like peas in a pod. If there was any resentment on our behalf, it certainly wasn't with each other, but with people who talked about two highly individual dancers as if they were one person. For a start, the sort of wardrobe I wore - blue jeans, sweatshirt, sneakers - Fred wouldn't have been caught dead in. Fred always looked immaculate in rehearsals, I was always in an old shirt. Fred's steps were small, neat, graceful and intimate - mine were ballet-oriented and very athletic. The two of us couldn't have been more different, yet the public insisted on thinking of us as rivals…I persuaded him to put on his dancing shoes again, and replace me in Easter Parade after I'd broken my ankle. If we'd been rivals, I certainly wouldn't have encouraged him to make a comeback.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Gene Kelly interviewed in Hirschhorn, Clive. Gene Kelly, A Biography. W.H Allen, London, 1984. p. 117. ISBN 0491031823.

Pauline Kael photo
Karen Lord photo

“That was the nature of chaos; its effects spanned time in ways that were not always immediately discernible, not even by beings outside of time.”

Karen Lord (1968) Barbadian novelist and sociologist of religion

Source: Redemption in Indigo (2010), Chapter 9 “A Stranger is Coming to Makendha” (p. 69)

Thomas Friedman photo
Camille Paglia photo
Marie-Louise von Franz photo
Jeff Hawkins photo
Piet Mondrian photo

“The first thing to change in my painting was the color [c. 1908-09]. I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively I felt that painting had to find a new way to express the beauty of nature.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian about 1905-1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 40

George Eliot photo
Bill Hicks photo
Clarence Darrow photo

“Life cannot be reconciled with the idea that back of the universe is a Supreme Being, all merciful and kind, and that he takes any account of the human beings and other forms of life that exist upon the earth. Whichever way man may look upon the earth, he is oppressed with the suffering incident to life. It would almost seem as though the earth had been created with malignity and hatred. If we look at what we are pleased to call the lower animals, we behold a universal carnage. We speak of the seemingly peaceful woods, but we need only look beneath the surface to be horrified by the misery of that underworld. Hidden in the grass and watching for its prey is the crawling snake which swiftly darts upon the toad or mouse and gradually swallows it alive; the hapless animal is crushed by the jaws and covered with slime, to be slowly digested in furnishing a meal. The snake knows nothing about sin or pain inflicted upon another; he automatically grabs insects and mice and frogs to preserve his life. The spider carefully weaves his web to catch the unwary fly, winds him into the fatal net until paralyzed and helpless, then drinks his blood and leaves him an empty shell. The hawk swoops down and snatches a chicken and carries it to its nest to feed its young. The wolf pounces on the lamb and tears it to shreds. The cat watches at the hole of the mouse until the mouse cautiously comes out, then with seeming fiendish glee he plays with it until tired of the game, then crushes it to death in his jaws. The beasts of the jungle roam by day and night to find their prey; the lion is endowed with strength of limb and fang to destroy and devour almost any animal that it can surprise or overtake. There is no place in the woods or air or sea where all life is not a carnage of death in terror and agony. Each animal is a hunter, and in turn is hunted, by day and night. No landscape is beautiful or day so balmy but the cry of suffering and sacrifice rends the air. When night settles down over the earth the slaughter is not abated. Some creatures are best at night, and the outcry of the dying and terrified is always on the wind. Almost all animals meet death by violence and through the most agonizing pain. With the whole animal creation there is nothing like a peaceful death. Nowhere in nature is there the slightest evidence of kindness, of consideration, or a feeling for the suffering and the weak, except in the narrow circle of brief family life.”

Clarence Darrow (1857–1938) American lawyer and leading member of the American Civil Liberties Union

Source: The Story of My Life (1932), p. 383

“The world’s a theatre, the earth a stage
Which God and Nature do with actors fill.”

Thomas Heywood (1574–1641) English playwright, actor, and author

Apology for Actors, (1612). Compare: "The world's a stage on which all parts are played", Thomas Middleton, A Game of Chess (1624), Act v. Sc. 1.; "All the world ’s a stage, And all the men and women merely players", Shakespeare, As You Like It, Act ii. Sc. 7.

Marcus Aurelius photo

“No form of Nature is inferior to Art; for the arts merely imitate natural forms.”

Meditations. xi. 10.
Bartlett's Familiar Quotations, 10th ed. (1919)

Geert Wilders photo
Alexander Calder photo
Tsunetomo Yamamoto photo
Viktor Schauberger photo
Immanuel Kant photo
Philip K. Dick photo
Robert Burton photo
Jane Roberts photo
Roger Shepard photo

“The manuscripts in which these early Greek treatises have been preserved to us seem to be derived from an encyclopaedia compiled during the tenth century, at Constantinople, from the works of various alchemists…. The Greek text. now published by M. Berthelot and M. [Ch. Em. ] Ruelle, custodian of the Library of Ste.-Geneviève, is derived from a careful collation of all these sources, and is accompanied with notes by M. Berthelot bringing light and order into the mystical obscurity in which from the beginning the alchemists enveloped their doctrines.
First among these is the 'Physica et Mystica,' ascribed to Democritus of Abdera, a collection of fragments, among which a few receipts for dyeing in purple may be genuine, while the story of magic and the alchemical teaching are evidently spurious. The philosopher is made to state that his studies were interrupted by the death of his master, Ostanes the Magian. He therefore evoked his spirit from Hades, and learned from him that the books which contained the secrets of his art were in a certain temple. He sought them there in vain, till one day, during a feast in the sanctuary, a column opened, and revealed the precious tomes, in which the doctrines of the Master were summed up in the mysterious words: 'Nature rejoices in Nature, Nature conquers Nature, Nature rules Nature.'
The unknown Alexandrian who wrote under the name of Democritus gives not only receipts for making white alloys of copper, but others which, he positively asserts, will produce gold. M. Berthelot, however, shows in his notes that they can only result in making amalgams for gilding or alloys resembling gold or varnishes which will give a superficial tinge to metals”

Osthanes (-500) pen-name used by several pseudo-anonymous authors of Greek and Latin works of alchemy

, Marcellin Berthelot, Ch. Em. Ruelle, "The Alchemists of Egypt and Greece," Art. VIII. (Jan. 1893) in The Edinburgh Review (Jan.-Apr. 1893) Vol. 177, pp. 208-209. https://books.google.com/books?id=GuvRAAAAMAAJ&pg=PA208

Adam Smith photo
Ralph Vary Chamberlin photo
Thomas Hobbes photo
Adolphe Quetelet photo
Ai Weiwei photo

“Creativity is part of human nature. It can only be untaught.”

Ai Weiwei (1957) Chinese concept artist

2010-, Life’s Work: Ai Weiwei, 2012

Rose Wilder Lane photo
Walt Disney photo

“You can't just let nature run wild.”

Walt Disney (1901–1966) American film producer and businessman

Walter Joseph Hickel, on the killing of wolves, as quoted in Living With Wolves (2005) by James Dutcher. p. 8
Misattributed

Regina E. Dugan photo

“The DARPA model has three elements:
Ambitious goals. The agency’s projects are designed to harness science and engineering advances to solve real-world problems or create new opportunities. At Defense, GPS was an example of the former and stealth technology of the latter. The problems must be sufficiently challenging that they cannot be solved without pushing or catalyzing the science. The presence of an urgent need for an application creates focus and inspires greater genius.
Temporary project teams. DARPA brings together world-class experts from industry and academia to work on projects of relatively short duration. Team members are organized and led by fixed-term technical managers, who themselves are accomplished in their fields and possess exceptional leadership skills. These projects are not open-ended research programs. Their intensity, sharp focus, and finite time frame make them attractive to the highest-caliber talent, and the nature of the challenge inspires unusual levels of collaboration. In other words, the projects get great people to tackle great problems with other great people.
Independence. By charter, DARPA has autonomy in selecting and running projects. Such independence allows the organization to move fast and take bold risks and helps it persuade the best and brightest to join.”

Regina E. Dugan (1963) American businesswoman, inventor, and technology developer

“Special Forces” Innovation: How DARPA Attacks Problems (2013)

Sri Chinmoy photo

“The very nature of kindness is to spread. If you are kind to others, today they will be kind to you, and tomorrow to somebody else.”

Sri Chinmoy (1931–2007) Indian writer and guru

#9280, Part 93
Ten Thousand Flower Flames Part 1-100 (1979)

Lysander Spooner photo
Albert Pike photo

“The Secret of the Occult Sciences is that of Nature itself, the Secret of the generation of the Angels and Worlds, that of the Omnipotence of God.”

Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXXII : Sublime Prince of the Royal Secret

Saint Patrick photo

“I am imperfect in many things, nevertheless I want my brethren and kinsfolk to know my nature so that they may be able to perceive my soul's desire.”

Saint Patrick (385–461) 5th-century Romano-British Christian missionary and bishop in Ireland

The Confession (c. 452?)

Ralph Waldo Emerson photo
Bernard Lewis photo
Robert G. Ingersoll photo
Joseph M. Juran photo
Marsden Hartley photo

“.. [Picasso had] a depth of understanding and insight into the inwardness of things.... doing very exceptional things of a most abstract psychic nature..”

Marsden Hartley (1877–1943) American artist

letter from Paris to Rockwell Kent, August 22, 1912, Archives of American Art; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 42
1908 - 1920

Auguste Rodin photo

“Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

Nick Bostrom photo

“Had Mother Nature been a real parent, she would have been in jail for child abuse and murder.”

Nick Bostrom (1973) Swedish philosopher

In Defence of Posthuman Dignity http://www.nickbostrom.com/ethics/dignity.html, Bioethics, Vol. 19, Iss. 3 (2005), p. 211

Christiaan Huygens photo
Calvin Coolidge photo

“No more important development has taken place in the last year than the beginning of a restoration of agriculture to a prosperous condition. We must permit no division of classes in this country, with one occupation striving to secure advantage over another. Each must proceed under open opportunities and with a fair prospect of economic equality. The Government can not successfully insure prosperity or fix prices by legislative fiat. Every business has its risk and its times of depression. It is well known that in the long run there will be a more even prosperity and a more satisfactory range of prices under the natural working out of economic laws than when the Government undertakes the artificial support of markets and industries. Still we can so order our affairs, so protect our own people from foreign competition, so arrange our national finances, so administer our monetary system, so provide for the extension of credits, so improve methods of distribution, as to provide a better working machinery for the transaction of the business of the Nation with the least possible friction and loss. The Government has been constantly increasing its efforts in these directions for the relief and permanent establishment of agriculture on a sound and equal basis with other business.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, Second State of the Union Address (1924)

John Gray photo
Thomas Fuller (writer) photo
Thomas Little Heath photo