L.J. Smith quote: “All the talking in the world couldn't even prove you and the other person both saw the same color red.”

“Optics is an example of the different ways a human is able to see things in the world. The same goes for the color of a person's skin and even though optics present that there are differences in color, these do not state that they should necessarily be treated as different.”

Edward Bouchet (1852–1918) African American academic

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“It's amazing how even with the language barrier women still communicate. You talk to women around the world and you find out we all have the same problems.”

Beverly White (1928–2021) American politician

As quoted in Tooele Transcript-Bulletin https://archive.ph/rZrYW (October 12, 1995)
State in regards to the World Conference on Women, 1995

“If you're racist you're not that clever. I mean, you couldn't even figure out that we're all the f---ing same.”

Cenk Uygur (1970) Turkish-American online news show host

"The SCARIEST Thing About Trump" (15 February 2017) https://www.youtube.com/watch?v=I49V9pdeVY4

“What is really meant when we talk of the need for men to make relationships a priority is that we would like to have the best of both worlds by preserving the qualities that make the young man a creative and dedicated technological person, while superimposing on that an equal competence in relationships. In fact, the psychological undertow that makes one possible, to the same degree makes the other impossible. … Achieving the ultimate in externalization and internalization at the same time is a psychological impossibility, because one exists to the degree that the other doesn't. You can't have the best of both worlds. You can only manipulate matters enough to give the temporary appearance of having the best of both worlds.”

Herb Goldberg (1937–2019) American psychologist

We can send a man to the moon but we still can't handle relationships: exploring a misleading cliche, pp. 269–270
The Inner Male (1987)

“If you've ever been part of a ministry that had it, you knew you were part of something special. In other words, you knew it when you saw it. And it was an awesome work of God that couldn't be contained, couldn't be harnessed, and couldn't be explained.”

Craig Groeschel (1967) American priest

It – How Churches and Leaders Can Get It and Keep It (2008, Zondervan)

“You and this person once competed for the same woman, and you both failed.”

Chuck Klosterman (1972) Author, Columnist

Chuck Klosterman IV: A Decade of Curious People and Dangerous Ideas (2006), Recognizing Your Nemesis

“Paint never seems to behave the same. Even the same paint doesn't, you know. In other words, if you use the same white or black or red, through the use of it, it never seems to be the same. It doesn't dry the same. It doesn't stay there and look at you the same way. Other things seem to affect it. There seems to be something that you can do so much with paint and after that you start murdering it..”

Franz Kline (1910–1962) American painter

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

“You were both correct,” said Morningstar. “It is the same thing that you both describe, although neither of you sees it as it really is. Each of you colors reality in keeping with your means of controlling it. For if it is uncontrollable, you fear it. Sometimes then, you color it incomprehensible. In your case, a machine; in theirs, a demon.”

Roger Zelazny book Jack of Shadows

Source: Jack of Shadows (1971), Chapter 6 (p. 63)

“The world’s most sensible person and the biggest idiot both stay within you. The worst part is you can’t even tell who is who.”

Chetan Bhagat book 2 States: The Story of My Marriage

Variant: The world's most sensible person and the biggest idiot both stay within us. The worst part is, you can't even tell who is who.
Source: 2 States: The Story of My Marriage

“Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing.”

Maxfield Parrish (1870–1966) American painter and illustrator

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

“All the talking in the world couldn't even prove you and the other person both saw the same color red.”

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