“It would be very curious to record by means of photographs, not the stage of the picture, but its metamorphoses. Perhaps one would perceive the path taken by the mind in order to put its dreams into a concrete form. But what is really very curious is to observe that fundamentally the picture does not change, that despite appearances the initial vision remains almost intact”

— Pablo Picasso

Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 256).
Quotes, 1930's, "Conversations avec Picasso," 1934–35

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Pablo Picasso 128

Spanish painter, sculptor, printmaker, ceramicist, and stag… 1881–1973

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“But there is one very odd thing - to notice that basically a picture doesn't change, that the first 'vision' remains almost intact, in spite of appearances. I often ponder on a light and a dark when I have put them into a painting; I try hard to break them up by interpolating a color that will create a different effect. When the work is photographed, I note that what I put in to correct my first vision has disappeared, and that, after all, the photographic image corresponds with my first vision before the transformation I insisted on.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Boisgeloup, winter 1934
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 313
Quotes, 1930's

“Idea or Vision, in its sensuous meaning, would be something that could be perceived only by the bodily eye and not by any other sense such as taste, hearing, etc.; it would be such a thing as a rainbow, or the forms which pass before us in dreams. Idea or Vision, in its supersensuous meaning, would denote, first of all, in conformity with the sphere in which the word is to be valid, something that cannot be perceived by the body at all, but only by the mind; and then, something that cannot, as many other things can, be perceived by the dim feeling of the mind, but only by the eye of the mind, by clear perception.”

Johann Gottlieb Fichte book Address to the German Nation

The Chief Difference Between The Germans And The Other Peoples Of Teutonic Descent p. 59
Addresses to the German Nation (Reden an die deutsche Nation) 1808, Fourth Address

“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964-65; as cited on collected quotes on the website of Gerhard Richter: on 'Photo-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/photo-paintings-12
1960's

“The fundamental materials from which we construct our picture of the universe may appear in different shapes, but there is really very little discontinuity between what seem at first sight very different views.”

J. R. Partington (1886–1965) British chemist

Introduction
Higher Mathematics for Chemical Students (1911)

“Correct me if I'm wrong here, but truth is something that arises out of the relationship between language and the world. If I look at a picture alone, it tells me nothing. In the previous incarnation of this lecture, I was going to put a picture of the Titanic and the Lusitania up on the screen. They look very, very similar - four smokestacks. They look almost identical. You look at either picture, true or false? Neither. Put a caption at the bottom of one of them, that changes everything. If you put in the caption, "This is the Lusitania," and the picture is a picture of the Lusitania, then the caption is true. However, the picture itself is neither true nor false. It's just a picture.”

Errol Morris (1948) American filmmaker and writer

Source: The Anti-Post-Modern Post-Modernist http://errolmorris.com/content/lecture/theantipost.html

“The world in which we live is very nearly incomprehensible to most of us. There is almost no fact …that will surprise us for very long, since we have no comprehensive and consistent picture of the world which would make the fact appear as an unacceptable contradiction.”

Neil Postman (1931–2003) American writer and academic

Amusing Ourselves to Death: Public Discourse in the Age of Show Business (1985)
Context: The world in which we live is very nearly incomprehensible to most of us. There is almost no fact... that will surprise us for very long, since we have no comprehensive and consistent picture of the world which would make the fact appear as an unacceptable contradiction.... in a world without spiritual or intellectual order, nothing is unbelievable; nothing is predictable, and therefore, nothing comes as a particular surprise.... The medieval world was... not without a sense of order. Ordinary men and women... had no doubt that there was such a design, and their priests were well able, by deduction from a handful of principles, to make it, if not rational, at least coherent.... The situation we are presently in is much different.... sadder and more confusing and certainly more mysterious.... There is no consistent, integrated conception of the world which serves as the foundation on which our edifice of belief rests. And therefore... we are more naive than those of the Middle Ages, and more frightened, for we can be made to believe almost anything.

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

“THERE is scarcely any inquiry more curious, or, from its importance, more worthy of attention, than that which traces the causes which practically check the progress of wealth in different countries, and stop it, or make it proceed very slowly, while the power of production remains comparatively undiminished, or at least would furnish the means of a great and abundant increase of produce and population.”

Thomas Robert Malthus Principles of Political Economy

Book II, Chapter I, On the Progress of Wealth, Section I, p. 309
Principles of Political Economy (Second Edition 1836)

“I think he's a very good technician. And he has something in Psycho, he had some moments. Psycho is one of his most interesting pictures because he had to make the picture very fast, with very primitive means. He had little money, and this picture tells very much about him. Not very good things. He is completely infantile, and I would like to know more — no, I don't want to know — about his behaviour with, or, rather, against women. But this picture is very interesting.”

Ingmar Bergman (1918–2007) Swedish filmmaker

On Alfred Hitchcock in an interview with John Simon (1971).

“If you really look at it, I was trying to sell a dream … There was very little I could put in concrete to tell these people it was really real.”

Charles K. Kao (1933–2018) Hong Hong-British-American physicist

In an interview, April 9, 1995, about his efforts at persuading telecommunications companies to use optical fibers, as quoted by [Jeff Hecht, City of light: the story of fiber optics, Oxford University Press, 2004, 0195162552, 117]

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Pablo Picasso 128

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