“And Margaret, uh, has done a lot of experimenting in her work. I think, probably, no artist has experimented the way Margaret has.”

— Margaret Keane

This statement was made before the public learned that Margaret, and not Walter, was the painter of the Big Eyed waifs.
Interviewed https://www.youtube.com/watch?v=9WgStC6fvtM by Gary E. Park (circa 1964).
Walter Keane

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Margaret Keane 15

American artist 1927

Jonathan Aitken (1942) Conservative Member of Parliament, former British government Cabinet minister

As quoted in A Balance of Power (1986) by James Prior, p. 107.

“That's what is driving a girl like Margaret Vance, who has everything that the world can offer her young beauty, on to the work of a Sister of Charity among the poor and the dying.”

William Dean Howells (1837–1920) author, critic and playwright from the United States

A Hazard Of New Fortunes, Ch. XI
Context: The life of Christ, it wasn't only in healing the sick and going about to do good; it was suffering for the sins of others. That's as great a mystery as the mystery of death. Why should there be such a principle in the world? But it's been felt, and more or less dumbly, blindly recognized ever since Calvary. If we love mankind, pity them, we even wish to suffer for them. That's what has created the religious orders in all times--the brotherhoods and sisterhoods that belong to our day as much as to the mediaeval past. That's what is driving a girl like Margaret Vance, who has everything that the world can offer her young beauty, on to the work of a Sister of Charity among the poor and the dying.

“The scientist has a lot of experience with ignorance and doubt and uncertainty, and this experience is of very great importance, I think.”

Richard Feynman (1918–1988) American theoretical physicist

The Value of Science (1955)
Context: The scientist has a lot of experience with ignorance and doubt and uncertainty, and this experience is of very great importance, I think. When a scientist doesn’t know the answer to a problem, he is ignorant. When he has a hunch as to what the result is, he is uncertain. And when he is pretty darn sure of what the result is going to be, he is still in some doubt. We have found it of paramount importance that in order to progress we must recognize our ignorance and leave room for doubt. Scientific knowledge is a body of statements of varying degrees of certainty — some most unsure, some nearly sure, but none absolutely certain. Now, we scientists are used to this, and we take it for granted that it is perfectly consistent to be unsure, that it is possible to live and not know. But I don’t know whether everyone realizes this is true. Our freedom to doubt was born out of a struggle against authority in the early days of science. It was a very deep and strong struggle: permit us to question — to doubt — to not be sure. I think that it is important that we do not forget this struggle and thus perhaps lose what we have gained.

““I have no fear of war,” said Arthur Stuart. “That’s when kings get to show their mettle.”
“You’re thinking of chess,” said Margaret. “In war, everyone has their chance to bleed.””

Orson Scott Card (1951) American science fiction novelist

Source: The Tales of Alvin Maker, Heartfire (1998), Chapter 14.

“Nowadays, when an artist discovers 'the sky,' it's like a bride who has never done any housework raving about her first vacuum cleaner. It's just not news." (Yet she confessed that the experience prompted her to deviate from a more controlled linear style and work freely with lively, confrontational colors directly influenced by the Southwest)”

Elaine de Kooning (1918–1989) American painter

as quoted on Portrait of the Art world - A Century of art News, Photographs http://www.npg.si.edu/cexh/artnews/edekooning.htm], referring to the photo of w:Rudolph Burckhardt's Gelatin silver print, 1960 (printed 2002), Published December 1960; Estate of Rudolph Burckhardt; courtesy Tibor de Nagy Gallery, New York City
Quote, after Elaine de Kooning was returned to New York from her teaching at the University of New Mexico [her studio was full of energetic paintings of bullfights in Juárez, Mexico, and of the expansive western landscape when Burckhardt portrayed her there.]
1972 - 1989

“The schizophrenic is probably having exactly the same experience as the magician but has no context in which to understand it.”

Alan Moore (1953) English writer primarily known for his work in comic books

De Abaitua interview (1998)
Context: The schizophrenic has had their window kicked in, the magician has got a body of law – probably most of it bollocks, it doesn’t matter. The magician’s got a system into which the alien information that will be pouring into him or her will be fitted. They’ve got a filing cabinet, like the Qabalah, which is a filing cabinet for ideas. It divides the whole universe up into ten drawers. Any experience can be passed into one of the drawers. The schizophrenic is probably having exactly the same experience as the magician but has no context in which to understand it. … The schizophrenics I have known, the most evident thing about it is the interconnectedness of everything. That’s standard lunacy, it’s also standard magic. But with one of them, it is uncontrollable, you are lost in a world in which everything is obviously connected by symbolic threads. That is what the magician is seeking, to see these threads that connect things up. If you’ve got a system – even if it’s a completely made-up bogus system – then you’ve at least got a filing cabinet to sort this stuff into, you don’t have to get crushed under it.