“After a short period of agony, I took a great leap forward from copying nature, in a more or less impressionist style, to feeling the content of things.”

as quoted in the text of the exhibition 'Kandinsky and der Blaue Reiter', Gemeentemuseum the Hague, Netherlands; February-June, 2010
Gabriele refers to the big change she made, before the period of her first Murnau landscape paintings (c. 1904 - 1914), when she lived and worked together with Kandinsky].

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Gabriele Münter photo
Gabriele Münter 24
German painter 1877–1962

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“.. the rejection of impressionistic copies of nature and a move towards sensing the content, abstraction, – expressing the extract..”

Gabriele Münter (1877–1962) German painter

as quoted in the exposition-text 'Alexej von Jawlensky', Museum Boymans-van-Beuningen Rotterdam; 25/9 – 27/ 11-1994, p. 21
this quote of Gabriele Münter was the leading idea for her early painting during the period she worked with Kandinsky in and around Murnau..

Nina Paley photo

“Copying is not theft
Stealing a thing leaves one less left
Copying it makes one thing more
That's what copying's for.”

Nina Paley (1968) US animator, cartoonist and free culture activist

"Copying Is Not Theft - let the re-recording begin! (15 December 2009) https://www.youtube.com/watch?v=djVaJN0f0VQ ; also quoted in "Calling All Musicians: Can You Arrange This Song?" at QuestionCopyright.org http://questioncopyright.org/copying_isnt_theft ·  "We Are Creators Too: Nina Paley " (2009) — introduced by Paley singing a variant of the first stanza of her song https://www.youtube.com/watch?v=4uN7upUXSFk · "Copying Is Not Theft - Official Version" (1 April 2010) https://www.youtube.com/watch?v=IeTybKL1pM4
Context: Copying is not theft
Stealing a thing leaves one less left
Copying it makes one thing more
That's what copying's for.
Copying isn't theft
If I copy yours, you have it too
One for me and one for you
That's what copies can do.
If I steal your bicycle,
You have to take the bus
But if I just copy it,
There's one for each of us!
Making more of a thing
That is what we call copying
Sharing ideas with everyone
That's why copying...
... Is fun!

Andrew Sullivan photo

“Great leaps forward in history are often, in fact, giant leaps back.”

Andrew Sullivan (1963) Journalist, writer, blogger

The Reactionary Temptation (2017)
Context: Great leaps forward in history are often, in fact, giant leaps back. The Reformation did initiate brutal sectarian warfare. The French Revolution did degenerate into barbarous tyranny. Communist utopias — allegedly the wave of an Elysian future — turned into murderous nightmares. Modern neoliberalism has, for its part, created a global capitalist machine that is seemingly beyond anyone’s control, fast destroying the planet’s climate, wiping out vast tracts of life on Earth while consigning millions of Americans to economic stagnation and cultural despair.
And at an even deeper level, the more we discover about human evolution, the more illusory certain ideas of progress become.

Claude Monet photo

“Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than Sargent thinks. But he went on to agree that impressionists had noted how strong”

Claude Monet (1840–1926) French impressionist painter

Quote of Monet; as cited in Stephen Lucius Gwynn Claude Monet and His Garden: The Story of an Artist's Paradise, Macmillan, 1934, p. 69: Comment by Monet to the English biographer Sir Evan Charteris.
after Monet's death

Chuck Palahniuk photo
Jean Piaget photo

“It is obvious that after more or less brief periods of submission, during which he accepts every verdict, even those that are wrong, he will begin to feel the injustice of it all.”

Jean Piaget (1896–1980) Swiss psychologist, biologist, logician, philosopher & academic

Source: The Moral Judgment of the Child (1932), Ch. 2 : Adult Constraint and Moral Realism <!-- p. 133 -->
Context: It is when the child is accustomed to act from the point of view of those around him, when he tries to please rather than to obey, that he will judge in terms of intentions. So that taking intentions into account presupposes cooperation and mutual respect. Only those who have children of their own know how difficult it is to put this into practice. Such is the prestige of parents in the eyes of the very young child, that even if they lay down nothing in the form of general duties, their wishes act as law and thus give rise automatically to moral realism (independently, of course, of the manner in which the child eventually carries out these desires). In order to remove all traces of moral realism, one must place oneself on the child's own level, and give him a feeling of equality by laying stress on one's own obligations and one's own deficiencies. In this way the child will find himself in the presence, not of a system of commands requiring ritualistic and external obedience, but of a system of social relations such that everyone does his best to obey the same obligations, and does so out of mutual respect. The passage from obedience to cooperation thus marks a progress analogous to that of which we saw the effects in the evolution of the game of marbles: only in the final stage does the morality of intention triumph over the morality of objective responsibility.
When parents do not trouble about such considerations as these, when they issue contradictory commands and are inconsistent in the punishments they inflict, then, obviously, it is not because of moral constraint but in spite of and as a reaction against it that the concern with intentions develops in the child. Here is a child, who, in his desire to please, happens to break something and is snubbed for his pains, or who in general sees his actions judged otherwise than he judges them himself. It is obvious that after more or less brief periods of submission, during which he accepts every verdict, even those that are wrong, he will begin to feel the injustice of it all. Such situations can lead to revolt. But if, on the contrary, the child finds in his brothers and sisters or in his playmates a form of society which develops his desire for cooperation and mutual sympathy, then a new type of morality will be created in him, a morality of reciprocity and not of obedience. This is the true morality of intention and of subjective responsibility. <!--
In short, whether parents succeed in embodying it in family life or whether it takes root in spite of and in opposition to them, it is always cooperation that gives intention precedence over literalism, just as it was unilateral respect that inevitably provoked moral realism. Actually, of course, there are innumerable intermediate stages between these two attitudes of obedience and collaboration, but it is useful for the purposes of analysis to emphasize the real opposition that exists between them.

Henry Moore photo
Timothy Dalton photo

“He's terrific. I think [Casino Royale] is a huge step forward - a leap forward.”

Timothy Dalton (1944) British actor of stage, film and television

On Casino Royale. [Timothy Dalton Reflects On 007, 2007-02-19, http://www.mi6.co.uk/sections/articles/dalton_hot_fuzz.php3?t=&s=, MI6 - The Home of James Bond, 2007-02-21]
Attributed

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