Quotes about brush
page 2

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

School, Art, Way, Drawing

“I could buy myself paper, a pen, a pencil and a brush and could create pictures whenever and wherever I wanted. … That evening, in the spring of 1947, on the embankment of the Seine in Paris, at the age of thirty, I saw that it was possible to live and work in the world, and that I could participate in the exchange of ideas that was taking place all around, bound to no country.”

Peter Weiss (1916–1982) Swedish-German playwright and author

Vanishing Point (1962)

Age, World, Spring, Idea

“Sit like a fool then, crassly emptying
Glass after wineglass in some foul tavern,
Watching the night and its candles gutter,
Snoring at sunrise.
In England now the wind blows high
And clouds brush rudely at the sky;
The blood runs thinly through my frame,
I half-caress the hearthstone’s flame,
Oppressed by autumn’s desolate cry.
Then homesick for the south am I,
For where the lucky swallows fly,
But each warm land is just a name
In England now.
The luckless workers I espy
With chins dipped low and collars high,
Walk into winter, do not blame
The shifting globe. A gust of shame
Represses my unmanly sigh
In England now.”

Anthony Burgess (1917–1993) English writer

English Literature: A Survey for Students.
Poetry

Fools, Autumn, Winter, Cry

“A true scholarship would examine, and then either accept or reject, with good reason, any new theory which challenges a generally accepted theory admitted to be full of sharp anomalies. However, this has not been the attitude of world scholarship towards our earlier book. The general attitude has been as follows: there is a school of crank scholarship in India which is out to prove, by hook or by crook, that India was the original homeland of the Indo-European family of languages; and the writers of this school deserve to be firmly put in their place. And the best method of doing this is by tarring all scholars who support, or even appear to support, an Indian homeland theory, with one brush; and then pointing out particularly untenable propositions made by one or the other of the scholars so branded together, to prove that all the scholars so named belong to one single school of irrational scholarship.”

Shrikant Talageri (1958) Indian author

Shrikant Talageri, The Rigveda: A Historical Analysis, 2000.
The Rigveda: A Historical Analysis (2000), Chapter 9 : Michael Witzel - An Examination of Western Vedic Scholarship

Books, World, School, Family

“She envied Camille. Camille was a tramp, Mildred thought. And things were so much easier for a tramp. There was no conscience, no sense of loss, nothing but a wonderful, relaxed, stretching-cat selfishness. She could go to bed with anyone she wanted to and never see him again and have no feeling of loss or insecurity about it. That was the way Mildred thought it was with Camille. She wished she could be that way, and she knew she couldn't. Couldn't because of her mother. And the unbidden thought entered her mind—if her mother were only dead Mildred's life would be so much simpler. She could have a secret little place to live somewhere. Almost fiercely, she brushed the thought away. "What a foul thing to think," she said to herself ceremoniously. But it was a dream she often had.”

John Steinbeck book The Wayward Bus

Source: The Wayward Bus (1947), Ch. 13. Mildred is the daughter of Elliot and Bernice Pritchard.

Life, Secret, Dreams, Way

“As if the butterfly, like the artist, were conscious of something not entirely congenial in the child's nature, it alternately sparkled and grew dim. At length it arose from the small hand of the infant with an airy motion that seemed to bear it upward without an effort, as if the ethereal instincts with which its master's spirit had endowed it impelled this fair vision involuntarily to a higher sphere. Had there been no obstruction, it might have soared into the sky and grown immortal. But its lustre gleamed upon the ceiling; the exquisite texture of its wings brushed against that earthly medium; and a sparkle or two, as of stardust, floated downward and lay glimmering on the carpet.”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

"The Artist of the Beautiful" (1844)

Nature, Effort

“Mayor Helen Zille has shrugged off the news that her portrait has been painted by an 'artist' who uses his penis as a brush, saying it is his constitutional right to exercise his freedom of expression 'in this unusual way.”

Pricasso (1949) Australian painter

[Cape Argus staff, Artist uses a different stroke on Zille portrait, Cape Argus, South Africa, 7 May 2008, 3, Independent Online]
About

Way, Exercises, Freedom, Painting

“Let me stop there, but my God, how beautiful Shakespeare is, who else is as mysterious as he is; his language and method are like a brush trembling with excitement and ecstasy. But one must learn to read, just as one must learn to see and learn to live.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

1880s, 1880, Letter to Theo (Cuesmes, July 1880)

God, Beauty, Learning, Reading

“What does it matter! [poverty], One of these days I shall have carriages and a golden crutch. My brush will win them for me.”

Narcisse Virgilio Díaz (1807–1876) French painter

Quote of Diaz, c. 1830-34; as quoted by Arthur Hoeber in The Barbizon Painters – being the story of the Men of thirty – associate of the National Academy of Design; publishers, Frederick A. Stokes Company, New York 1915, p. 139
Quotes of Diaz

“Time did a devastating hatchet job on Uri Geller (and others). Time selected those events and circumstances thoroughly discrediting Geller. Time also grouped such meticulous researchers as Charles Tart with highly suspect and careless showmen, tarring all with the same brush. Guilt by association is hardly objective journalism. Nevertheless most "nonordinary" phenomena are subjective and not amenable to cultural "prediction and control." This has been one issue of my book. Should Geller-type material become fully acceptable within such channels of the culture such as Time, we would know that the cultural force would have absorbed, and not destroyed, the Crack-sign value of such phenomena. When those working in the field of "nonordinary" phenomena stop trying to prove to the Establishment, they will make a great leap forward. Anonymity is the direction.”

Joseph Chilton Pearce (1926–2016) American writer

Source: Exploring the Crack In the Cosmic Egg (1974), p. 146

Books, Time

“.. As a matter of fact, last winter I was painting on ivory; I've already got a collection of forty studies, but these are original miniatures, of a kind I've never seen before, entirely done with the point of a brush, with details that are closer to the brushwork of Velásquez than to that of Mengs.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

1820s

Study, Winter, Painting

“He dreamt that night that he rode through the woods on a low ridge. Below him he could see deer in a meadow where the sun fell on the grass. The grass was still wet and the deer stood in it to their elbows. He could feel the spine of the mule rolling under him and he gripped the mule's barrel with his legs. Each leaf that brushed his face deepened his sadness and dread. Each leaf he passed, he'd never pass again. They rode over his face like veils, already some yellow, their veins slender like bones where the sun shone through them. He had resolved himself to ride on for he could not turn back and the world that day was as lovely as any day ever was and he was riding to his death.”

Cormac McCarthy book Child of God

Source: Child of God (1973), p.162

Love, Death, World, Sadness

“It was a dark, clean-cut face, with a three-inch scar showing whitely down the sunburned skin of the right cheek. The eyes were wide and level under straight, rather long black brows. The hair was black, parted on the left, and carelessly brushed so that a thick black comma fell down over the right eyebrow. The longish straight nose ran down to a short upper lip below which was a wide and finely drawn but cruel mouth. The line of jaw was straight and firm. A section of dark suit, white shirt and black knitted tie completed the picture.”

Ian Fleming book From Russia, with Love

Source: From Russia with Love (1957), Ch. 6 : Death Warrant

Parting

“An artist using statistics as a brush could paint two very different pictures of our country. One would have warning signs: increasing layoffs, rising energy prices, too many failing schools, persistent poverty, the stubborn vestiges of racism. Another picture would be full of blessings: a balanced budget, big surpluses, a military that is second to none, a country at peace with its neighbors, technology that is revolutionizing the world, and our greatest strength, concerned citizens who care for our country and care for each other.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Address to Joint Session of Congress on Administration Goals (February 2001)

World, School, Peace, Painting

“"I'll be going now," she said.
Shinji made no answer and a surprised look came over his face. He had caught sight of a black streak that ran straight across the front of her red sweater.
Hatsue followed his gaze and saw the dirty smudge, just in the spot where she had been leaning her breast against the concrete parapet. Bending her head, she started slapping her breast with her open hands. Beneath her sweater, which all but seemed to be concealing some firm supports, two gently swelling mounds were set to trembling ever so slightly by the brisk brushing of her hands.
Shinji stared in wonder. Struck by her hands, the breasts seemed more like two small, playful animals. The boy was deeply stirred by the resilient softness of their movement.
The streak of dirt was finally brushed out.”

Yukio Mishima book The Sound of Waves

Source: The Sound of Waves (1956), p. 31, ch. 4.

Boy, Support, Animals

“The usual bad poem in somebody’s Collected Works is a learned, mannered, valued habit, a habit a little more careful than, and little emptier than, brushing one’s teeth.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“William Carlos Williams”, p. 216
Poetry and the Age (1953)

Learning

“Illusionistic art appeals to what the public knows not about art but about things. This ability to brush art aside is the secret of the popularity of illusionism. Ever since the Greeks told of painted grapes being pecked by real birds, wonder at skill in deceiving the eye has moved more people than appreciation of aesthetic quality. But for art to depend exclusively upon reproducing appearances has the disadvantage of requiring that the painting or sculpture conform to the common perception of things.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 239, "Reality Again: The New Photorealism"

People, Secret, Art, Bird

“The artist's tool or the traditional artist's brush and maybe even oil paint are all disappearing very quickly. We use mostly commercial paint, and we generally tend toward lager brushes. In a way, Abstract Expressionism started this all. De Kooning used house painter's brushes and house painters' techniques.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

Way, Painting, Housing

“But you were brushing out your hair
and singing to yourself.
And, for a moment, I think I saw
what those artists saw —
someone half in love with herself
and half in love with the world.”

John Yau (1950) American poet

"January 18, 1979" lines 7-12, Corpse and Mirror, Henry Holt, 1983

Love, World, Thinking, Singing

“Story on Story of wonderful hills and streams
Their blue-green haze locked in clouds!
Mists brush my thin cap with moisture
Dew wets my coat of plaited straw
On my feet I wear pilgrim's sandals
My hand holds a stick of old rattan
Though I look down again on the dusty world
What is that land of dreams to me?”

Han-shan Chinese monk and poet

Cold Mountain: 100 Poems by the T'ang Poet Han-shan

World, Dreams

“.. on the banks of a very picturesque mountain stream that pours out its crystalline water in four or five waterfalls into the Dussel brook... Oh, in this cave, at this crystal flood, I often felt myself so well! Sensations frequently welled up in my bosom at this blessed place that ennoble the soul and make pour out joyful tombs; [they] give the heart impressions that neither greatness or honor can steal from us. An indomitable longing came to me, to learn more and more about these enchanting shades of beautiful and holy nature, and to transfer them on the canvas with my brush.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) ..aan den oever van eenen hoogst schilderachtigen bergstroom die zijn kristallijnen vocht door vier of vijf watervalletjes in de Dusselbeek uitstort.. .Oh, in deze grot, bij dezen kristallen vloed, gevoelde ik mij dikwijls zo wel! Gewaarwordingen, die den ziel veredelen, vreugdentranen uit het oog doen vloeijen, het hart indrukken geven, die grootheid noch eer ons kunnen ontvreemden, welden vaak in dit zalige oord in mijn boezem op. Een ontembare zucht greep mij aan, om die tooverachtige schakeringen der schoone en heilige natuur meer en meer te leren kennen, en die door mijn penseel op het doek over te brengen.
he frequently visited this location along the Düssel stream, as Koekoek's quote illustrates
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 37-38

Beauty, Soul, Mountain, Nature

“Their oars I bid them ply, their lives to save,
Death at their heels: they brush the briny wave,
And soon our ship the open sea enjoy'd;
But all the rest the Læstrigons destroy'd.”

John Ogilby (1600–1676) Scottish academic

Book X
Homer His Odysses Translated (1665)

Death, Sea

“I think it would be a pity if Chaudhry brushed aside majority Fijian opinion on a major issue. He has done this before and it will be a sad day for Fiji if he does that again this time.”

Laisenia Qarase (1941) Prime Minister of Fiji

Additional remarks about the proposed Reconciliation and Unity Commission, Response to continuing opposition to the Reconciliation, Tolerance, and Unity Bill, 30 July 2005

Sadness, Thinking, Time

“He who has envisioned evolution will approach it carefully, joyously brushing away the dust on the path. Most important, there will be no fear in him. And rejecting the unnecessary he will acquire simplicity. It is easy to understand that the realization of evolution is always beautiful.
Again they will ask: "Why at the beginning of the path is so much that is pleasant accorded and so much forgiven?" It is because in the beginning all fires are full blown and the called one walks as a torch. It is up to him to choose the quality of his fire. He who comprehends the discipline of spirit will understand the direction of the fire and will approach the cooperation for the General Good. The end of the path can be illumined by athousand fires of the General Good. These thousand fires will light the rainbow of the aura. Therefore, the discipline of spirit is wings!”

Nicholas Roerich (1874–1947) Russian painter, writer, archaeologist, theosophist, enlightener, philosopher

Introduction
Leaves Of Morya's Garden (1924 - 1925), Book II : Illumination (1925)

Fear, Beauty, Understanding, Light

“I could never really make the connection between Christian and Catholic. I always imagined that Christ would look down upon the Catholic church and totally disassociate himself from it. I went to severe schools, working class schools, where they would almost chop your fingers off for your own good, and if you missed church on Sunday and went to school on a Monday and they quizzed you on it, you'd be sent to the gallows. It was like 'Brush you teeth NOW or you will DIE IN HELL and you will ROT and all these SNAKES will EAT you'. And I remember all these religious figures, statues, which used to petrify every living child. All these snakes trodden underfoot and blood everywhere. I thought it was so morbid. I mean the very idea of just going to church anyway is really quite absurd. I always felt that it was really like the police, certainly in this country at any rate, just there to keep the working classes humble and in their place. Because of course nobody else but the working class pays any attention to it. I really feel quite sick when I see the Pope giving long, overblown, inflated lectures on nuclear weapons and then having tea with Margaret Thatcher. To me it's total hypocrisy. And when I hear the Pope completely condemning working class women for having abortions and condemning nobody else… to me the whole thing is entirely class ridden, it's just really to keep the working classes in perpetual fear and feeling total guilt.”

Morrissey (1959) English singer

from "All men have secrets and these are Morrissey’s", interview by Neil McCormick,Hot Press (4 May 1984)
In interviews etc., About life and death

Women, Fear, School, Feeling

“A brush with death always helps us to live our lives better.”

Paulo Coelho book The Zahir

Source: The Zahir (2005), p. 220.

Death, Help

“One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.... Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.”

Asger Jorn (1914–1973) Danish artist

Quote in Jorn's letter, 1952; as cited on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, his critical comment on the art teachings of Fernand Léger, which Jorn started to follow circa 1936, in Paris. 1949 - 1958, Various sources

Love, Art, Color, Painting

“The stuff of thought is the seed of the artist. Dreams form the bristles of the artist's brush. As the eye functions as the brain's sentry, I communicate my innermost perceptions through the art, my worldview.”

Arshile Gorky (1904–1948) Armenian-American painter

quote in Abstract Expressionism, Barbara Hess, Taschen, 2005, p. 10
posthumous

Dreams, Art, Communication

“I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new. I didn't want to get into something which is played out and narrow. I want to do as I like, invent my own interests. Of course, that doesn't mean that people who, like Newman, still paint are worn out. But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment. I think what I'm trying to deal with is something more long range than that in a way, more obscure perhaps, more involved with things that happen over a longer time perhaps. At least it's another area of experience.”

Donald Judd (1928–1994) artist

Quoted in: Donald Jud http://www.theartstory.org/artist-judd-donald.htm at theartstory.org, 2014 1960s, "Oral history interview with Donald Judd," 1965

People, Way, Thinking, Time

“The size of a firm influences its competitive policies in a number of ways. In the first place the scale of its purchases and sales relative to the total volume of transactions in the firm's market is one indication of the extent of its market control. Taken in conjunction with other data it may throw a good deal of light on price and production policies. Certain authorities, on the other hand, brush aside figures on the relative size of firms as irrelevant and emphasize the decisive importance of the elasticity of the firm's demand curve. 3 It would no doubt be extremely convenient if economists knew the shape of individual demand and cost curves and could proceed forthwith, by comparisons of price and marginal cost, to conclusions regarding the existing degree of monopoly power. The extent to which the monopoly theorists, however, refrain from an empirical application of their formulae is rather striking.”

Edward S. Mason (1899–1992) American economist

Source: "Price and production policies of large-scale enterprise," 1939, p. 62

Way, Decision, Light

“The first thing I do in the morning is brush my teeth and sharpen my tongue.”

Oscar Levant (1906–1972) American comedian, composer, pianist and actor

As quoted in The New Speaker's Treasury of Wit and Wisdom (1958) by Herbert Victor Prochnow, p. 322.

“the streams buck like rams in a tent
whips crack and from the hills come the crookedly combed
shadows of the shepherds.
black eggs and fools' bells fall from the trees.
thunder drums and kettledrums beat upon the ears of the donkeys.
wings brush against flowers.
fountains spring up in the eyes of the wild boar.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Dada poetry lines from his poem 'Der Vogel Selbdritt', Jean / Hans Arp - first published in 1920; as quoted in Gesammelte Gedichte I (transl. Herbert Read), p. 41
1910-20s

Fools, Spring, Flowers, Tree

“Inferior as a mechanical printing method for ordinary photographic purposes, the gum process may for a time at least be regarded as standing apart for pictorial purposes, because the large amount of personal control which must be exercised before it can be said to show distinct advantages over other methods implies that the controlling hand must be guided by an artist that is, a man of such large instinctive artistic taste that one can hardly conceive that he would be able to produce a better result by painting, and without the use of photography at all, were he to devote the same skill and endeavour to the employment of brush or pencil, instead of photographic appliances.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing methods and their bearing on pictorial photography, p. 73

Exercises, Time, Painting, Personality

“If upon a white canvas I jot down some sensations of blue, of green, of red – every new brush stroke diminishes the importance of the preceding ones. Suppose I set out to paint an interior... If I paint a green near the red, if I paint in a yellow floor, there must still be between this green, this yellow, and the white of the canvas a relation that will be satisfactory to me. But these several tones mutually weaken one another. It is necessary, therefore, that the various elements that I use be so balanced that they do not destroy one another..”

Henri Matisse (1869–1954) French artist

Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 411

Painting

“You [the interviewer Edouard Roditi, in 1958] have probably understood that I had always been mainly a plain-air painter, though I also painted portraits and still-life compositions. At first I experienced great difficulty with my brushwork – I mean with that the French call 'la touche de pinceau'. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife. In the view from my window in Sèvres, that I painted in 1906, when we were together in France, you can see how well he taught me. Later of course, here in Murnau, I learned to handle brushes, too, but I managed this by following Kandinsky's example, first with a palette knife, than with brushes.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

Life, Learning, Painting

“Always lines, never forms. Where do they find these lines in Nature? Personally I see only forms that are lit up and forms that are not, planes that advance and planes that recede, relief and depth. My eye never sees outlines or particular features or details… …My brush should not see better than I do.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

Goya, in a recall of an overheard conversation
conversation of c. 1808, in the earliest biography of Goya: Goya, by Laurent Matheron, Schulz et Thuillié, Paris 1858; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 176
probably not accurate word for word, but according to Robert Hughes it rings true in all essentials, of the old Goya, in exile
1800s

Nature, Personality

“Rochester: [checking his equipment] Shaving cream, brush, razor, smelling salts.”

Jack Benny (1894–1974) comedian, vaudeville performer, and radio, television, and film actor

The Jack Benny Program (Radio: 1932-1955), The Jack Benny Program (Television: 1950-1965)

“I hope that with the help of van Van Gogh and Durand we will be able to emerge from this situation [selling nothing]. It seems to me that I deserve no less, since I have worked conscientiously. I do not believe that anyone could devote - if not more talent - more care and good will to the service of his art; it takes me hours of reflection to decide on the slightest detail. Is this impatience?... I think not! For I do not wish to make a brush stroke when I do not feel complete mastery of my subject, there's the rub - that is the great difficulty; without sensation, nothing, absolutely nothing valid... I believe I have hit my stride. I have begun a series of things which will really be in my style.”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, Eragny, 26 April 1888, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 124
Theo van Gogh was working in the Paris' art-gallery Goupil & Cie and selling Impressionist artists
1880's

Hope, Art, Feeling, Thinking

“During the four hundred years of Han supremacy the march of civilization went steadily forward. Paper and ink were invented, and also the camel's-hair brush, both of which gave a great impetus to the arts of writing and painting.”

Herbert Giles (1845–1935) British sinologist and diplomat

The Civilization of China https://www.gutenberg.org/files/2076/2076-h/2076-h.htm (1911), p. 37

Art, Painting

“It is a special kind of secret how these Asiatic elements [of American Indians] came over the Bering Strait long ago. It's the same with the coyote. When I worked with the coyote [this quote refers to the performance by Beuys when he was locked up together with a coyote in a cage for a few days in René Block Gallery, New York City in 1974], I had the idea that it was not an indigenous animal. It came as a wolf with the Indians over the Bering Strait. And this Asiatic wolf, or step wolf, changed his whole biological configuration and behavior. Then it was my idea to import the coyote once more back to Europe, and you could see it [the coyote] change back to the European wolf or Siberian wolf. It is a transformed European wolf, the coyote, how it came to the character of a brush wolf.”

Joseph Beuys (1921–1986) German visual artist

Quote of Beuys in an interview with Alan Moore and Edit deAk, 1974; as cited in: Joseph Beuys in America: Energy Plan for the Western Man., Carin Kuoni; New York, 1993, p. 213
1970's

Secret, Behavior, Quotes, Idea

“If the stroke of the brush is so important, it is because it expresses precisely what is not there.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

quote 1985 - from CF, 44; p. 69
Karel Appel, a gesture of colour' (1992/2009)

“You were playing in the snow
You were banging on the doors
You climbed up on the roof
Roof of the world
You were pulling up the rhododendrons
Loping down the mountain They want to know you
They will hunt you down
Then they will kill you
Run away, run away… We found your footprints in the snow
We brushed them all away… You're the wild man.”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, 50 Words for Snow (2011)

World, Mountain

“To Leonardo a landscape, like a human being, was part of a vast machine, to be understood part by part and, if possible, in the whole. Rocks were not simply decorative silhouettes. They were part of the earth's bones, with an anatomy of their own, caused by some remote seismic upheaval. Clouds were not random curls of the brush, drawn by some celestial artist, but were the congregation of tiny drops formed from the evaporation of the sea, and soon would pour back their rain into the rivers.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: Leonardo da Vinci (1939), Ch. Six: 1497-1503

Parting, Sea

“The Muscogee was once a mighty people. The Georgians trembled at your war-whoop, and the maidens of my tribe, on the distant lakes, sung the prowess of your warriors and sighed for their embraces. Now your very blood is white; your tomahawks have no edge; your bows and arrows were buried with your fathers. Oh! Muscogees, brethren of my mother, brush from your eyelids the sleep of slavery; once more strike for vengeance; once more for your country. The spirits of the mighty dead complain. Their tears drop from the weeping skies. Let the white race perish! They seize your land, they corrupt your women, they trample on your dead! Back! whence they came, upon a trail of blood, they must be driven! Back! back — ay, into the great water whose accursed waves brought them to our shores! Burn their dwellings! Destroy their stock! Slay their wives and children! The red man owns the country, and the pale-face must never enjoy it! War now! War forever! War upon the living! War upon the dead! Dig their very corpses from the graves! Our country must give no rest to the white man's bones.”

Tecumseh (1768–1813) Native American leader of the Shawnee

Speech to the Creek people, quoted in Great Speeches by Native Americans by Robert Blaisdel. This quote appeared in J. F H. Claiborne, Life and Times of Gen. Sam Dale, the Mississippi Partisan (Harper, New York, 1860). However, historian John Sugden writes, "Claiborne's description of Tecumseh at Tuckabatchie in the alleged autobiography of the Fontiersman, Samuel Dale, however, is fraudulent. … Although they adopt the style of the first person, as in conventional autobiography, the passages dealing with Tecumseh were largely based upon published sources, including McKenney, Pickett and Drake's Life of Tecumseh. The story is cast in the exaggerated and sensational language of the dime novelist, with embellishments more likely supplied by Claiborne than Dale, and the speech put into Tecumseh's mouth is not only unhistorical (it has the British in Detroit!) but similar to ones the author concocted for other Indians in different circumstances." Sugden also finds it "unreliable" and "bogus." Sugden, John. "Early Pan-Indianism; Tecumseh’s Tour of the Indian Country, 1811-1812." American Indian Quarterly 10, no. 4 (1986): 273–304. doi:10.2307/1183838.
Misattributed, "Let the White Race Perish" (October 1811)

Women, War, Children, People

“As Sergeant walks past he was swinging his arms,
And he happened to brush against Sam,
And knocking his musket clean out of his hand,
It fell to the ground with a slam”

Stanley Holloway (1890–1982) English stage and film actor, comedian, singer, poet and monologist

Sam, Sam, Pick Oop Tha' Musket

Past

“.. scumbled froth.... capable of indicating a mouth, eyes, a nose with a single stroke of the brush, the rest of the face modeled by the perfect accuracy of these indications.”

Berthe Morisot (1841–1895) painter from France

Quote of her notebooks about rendering, 1885-86; as cited in Berthe Morisot, ed. Delafond and Genet-Bondeville, 1997, p. 46
1881 - 1895

Perfection

“Be modern
collectors, museums
if you have old paintings
do not despair
Retain your memories
but detourn them
so that they correspond with your era.
Why reject the old
if one can modernize it
with a few strokes of the brush.
This casts a bit of contemporaneity
on your old culture.
Be up to date
and distinguished
at the same time.
Painting is over
You might as well finish it off
Detourn (détournez)
Long live painting.”

Asger Jorn (1914–1973) Danish artist

On his Détournements, modifications of old, existing paintings, in the foreword to the catalogue of his exhibition Modifications (1959)
1959 - 1973, Various sources

Memory, Time, Painting, Despair

“Yet the complexity of all this pales in comparison to the patterns of information processing in your brain. Your roughly 100 billion neurons are constantly generating electrical signals (“firing”), which involves shuffling around billions of trillions of atoms, notably sodium, potassium, and calcium ions. The trajectories of these atoms form an extremely elaborate braid through spacetime, whose complex intertwining corresponds to storing and processing information in a way that somehow gives rise to our familiar sensation of self-awareness. There’s broad consensus in the scientific community that we still don’t understand how this works, so it’s fair to say that we humans don’t yet fully understand what we are. However, in broad brush, we might say this: You’re a pattern in spacetime. A mathematical pattern. Specifically, you’re a braid in spacetime—indeed, one of the most elaborate braids known.”

Max Tegmark (1967) Swedish-American cosmologist

Life Is A Braid In Spacetime http://nautil.us/issue/9/time/life-is-a-braid-in-spacetime

Way, Communication, Mathematics, Understanding

“Animals are so easily overlooked, their interests so easily brushed aside. Whenever we humans enter their world, from our farms to the local animal shelter to the African savanna, we enter as lords of the earth bearing strange powers of terror and mercy alike.
Dominion, as we call this power in the Western tradition, today requires our concentrated moral consideration …”

Matthew Scully (1959) American political writer and speechwriter

Dominion (2002)

World, Animals

“When he finished packing, he walked out on to the third-floor porch of the barracks brushing the dust from his hands, a very neat and deceptively slim young man in the summer khakis that were still early morning fresh.”

James Jones book From Here to Eternity

First line. "Jones packs a hell of a lot into that first line. He tells you it's summer, he tells you it's morning, he tells you you're on an Army post with a soldier who's obviously leaving for someplace, and he gives you a thumbnail description of his hero. That's a good opening line." ~ Ed McBain (Evan Hunter) in Killer's Payoff (1958)
From Here to Eternity (1951)

Summer

“He told Dorothy he had brushed his shaggy hair and whiskers; but she thought he must have brushed them the wrong way, for they were quite as shaggy as before.”

L. Frank Baum book The Road to Oz

The Road to Oz, Ch. 4 : King Dox (1909)
Later Oz novels

Way

“The two cops dragging the little guy out stopped dead still. The other one washing the bloodstains from the seat quit swishing the brush over the wicker and held his breath. Nobody ever spoke that way to Dilwick. Nobody from the biggest politician in the state to the hardest apple that ever stepped out of a pen. Nobody ever did because Dilwick would cut them up into fine pieces with his bare hands and enjoy it. That was Dilwick, the dirtiest, roughest cop who ever walked a beat or swung a nightstick over a skull. Crude, he was. Crude, hard and dirty and afraid of nothing. He'd sooner draw blood from a face than eat and everybody knew it. That's why nobody ever spoke to him that way. That is, nobody except me.
Because I'm the same way myself.”

Mickey Spillane book The Twisted Thing

The Twisted Thing (1966)

Way, Guy, Drawing, Dead

“I would have failed, of course, but failure is the condition of the artist's life. What kind of failure would I have enjoyed, suffered? I know it was not all waste. My hopeless daubings taught me to look at the world with a painter's eye, despite the poor connection between eye and hand. And the smells of turpentine and linseed oil and paint-soaked rags still make my blood tingle. But words were my calling, and called to me, and I let fall the brush.”

John Banville (1945) Irish writer

My other life: John Banville http://www.guardian.co.uk/books/2008/nov/30/my-other-life-john-banville?INTCMP=SRCH, The Observer (30 November 2008).

Life, World, Failure, Suffering

“And lately fashion photographers, bored with Rome or the Acropolis, have ventured farther afield for the frisson of syncretism. Why not Calcutta? Why not the slums of Rio? Cairo? Mexico City? The attempt is for an unearned, casual brush with awe by enlisting untouchable extras. And if the model can be seen to move with idiot stridency through tragedy, then the model is invincible. Luxury is portrayed as protective. Or protected. Austere, somehow—“spiritual.””

Richard Rodríguez (1944) American journalist and essayist

Irony posing as asceticism or as worldly-wise.
Brown : The Last Discovery of America (2003)

Fashion

“There is no doubt that to-day feeling in totalitarian countries is, or they would like it to be, one of contempt for democracy. Whether it is the feeling of the fox which has lost its brush for his brother who has not I do not know, but it exists. Coupled with that is the idea that a democracy qua democracy must be a kind of decadent country in which there is no order, where industrial trouble is the order of the day, and where the people can never keep to a fixed purpose. There is a great deal that is ridiculous in that, but it is a dangerous belief for any country to have of another. There is in the world another feeling. I think you will find this in America, in France, and throughout all our Dominions. It is a sympathy with, and an admiration for, this country in the way she came through the great storm, the blizzard, some years ago, and the way in which she is progressing, as they believe, with so little industrial strife. They feel that that is a great thing which marks off our country from other countries to-day. Except for those who love industrial strife for its own sake, and they are but a few, it indeed is the greatest testimony to my mind that democracy is really functioning when her children can see her through these difficulties, some of which are very real, and settle them—a far harder thing than to fight.”

Stanley Baldwin (1867–1947) Former Prime Minister of the United Kingdom

Speech http://hansard.millbanksystems.com/commons/1937/may/05/supply in the House of Commons (5 May 1937). 1937

Love, Children, People, World

“The government of Myanmar denied committing any atrocities against the Rohingyas, asserting that many widely reported incidents had been fabricated, but the media generally brushed aside these denials. Few news outlets reported that the conflict had intensified in the summer and fall of 2017 because of an August 2017 jihad attack on Myanmar police and border posts. And hardly any news reports informed the public about the roots of the conflict: the Rohingya Muslims had actually been waging jihad against the Buddhists of Myanmar for nearly two centuries… In 1942, the British armed the Rohingyas to fight the Japanese, but the Rohingyas instead turned their weapons on the Buddhists, destroying whole villages, as well as Buddhist monasteries. When the British withdrew that same year in the face of the Japanese advance, the Rohingyas set upon the Buddhists of Arakan in force, killing at least 20,000… But for the media, the crisis in Myanmar was simply a matter of “anti-Muslim bigotry”…”

Robert Spencer (1962) American author and blogger

The history of Jihad: From Muhammad to ISIS (2018)

Fight, Summer

“I was not yet inclined to live the life of a celibate.... I have taken a young wife of honest but middle-class family although everyone tried to persuade me to make a court marriage. But I feared pride, that inherent vice of the nobility, particularly in that sex, and that is why I chose one who would not blush to see me take my brushes in hand. And to tell the truth it would have been hard for me to exchange the priceless treasure of liberty for the embraces of an old woman.”

Peter Paul Rubens (1577–1640) Flemish painter

In a letter to his friend Peiresc, c. 1635; as quoted in Rubens and the Roman Circle, Huemer, p. 44
his second wife was Helena Fourment, the daughter of a silk merchant, Daniel Fourment; when Rubens married her in 1630 she was just
1625 - 1640

Life, Marriage, Truth, Fear

“A powerful critical talent who destroyed his own sense of proportion, Leavis was our brush with totalitarianism: we caught it as a mild fever instead of the full attack of meningitis. His career was the clearest possible proof that the course the arts take is not under the control of criticism.”

F. R. Leavis (1895–1978) British literary critic

Clive James From the Land of Shadows (London: Picador, 1983) p. 206.
Criticism

Art, Sense

“How you produce volume after volume the way you do is more than I can conceive. …But you haven't to forge every sentence in the teeth of irreducible and stubborn facts as I do. It is like walking through the densest brush wood.”

William James (1842–1910) American philosopher, psychologist, and pragmatist

Letter to Henry James (ca. 1890) as quoted by Robert D. Richardson, William James: In the Maelstrom of American Modernism (2007) p. 297. Also as quoted partially by Alfred North Whitehead, Science and the Modern World (1925) p. 2.
1890s

Way

“He who knows the surface of the earth and the topography of a country only through the examination of maps.. is like a man who learns the opera of Meyerbeer or Rossini by reading only reviews in the newspapers. The brush of landscape artists Lorrain, Ruysdael, or Calame can reproduce on canvas the sun's ray, the coolness of the heavens, the green of the fields, the majesty of the mountains…but what can never be stolen from Nature is that vivid impression that she alone can and knows how to impart--the music of the birds, the movement of the trees, the aroma peculiar to the place--the inexplicable something the traveller feels that cannot be defined and which seems to awaken in him distant memories of happy days, sorrows and joys gone by, never to return”

José Rizal (1861–1896) Filipino writer, ophthalmologist, polyglot and nationalist

"Los Viajes" in La Solidaridad (15 May 1889)- translated from the Spanish by Nick Joaquin

Happiness, Music, Travel, Feeling

“Neo-Impressionist method is an attempt is made to achieve the richness of the sunlight spectrum with all its tones. An orange that blends with yellow and red, a violet that tends toward red and blue, a green between blue and yellow are, with white the sole elements. Through mixture (in the eye of the observer) of these pure colours, whose relationship can be varied at will, from the most brilliant to the greyish. Every brush stroke that is taken from the palette remains pure on the canvas.”

Paul Signac (1863–1935) French painter

From Delacroix to Neo-Impressionism, 1899

“I knew nothing when I first met him. He taught me to see things through his eyes. Dalí was my teacher. He let me use his brushes, his paint and his canvas, so that I could play around while he was painting for hours and hours in the same studio. Surrealism was a good school for me. Listening to Dalí talk was better than going to any art school.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.3d-dali.com/centennial-magazine/e-9-muse.htm, Salvador Dali Centennial Magazine – Amanda Lear, 15 June 2004, 3d-dali.com, 15 July 2018

School, Art, Teachers, Painting

“Brushing with hasty steps the dews away,
To meet the sun upon the upland lawn.”

Thomas Gray (1716–1771) English poet, historian

St. 25 Elegy Written in a Country Churchyard http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc (written 1750, publ. 1751)

Sun

“Soon after completing the 'La Combe' series [circa 1950] I had a dream in which I was assisted by many children on a scaffold, painting a huge mural made up of square panels fitted together. Each panel was being painted by a child very quickly in long black strokes with huge brushes. The work was done in seconds. Upon waking I immediately made a reminder sketch of the mural. Later I made a drawing of many ink strokes, which I cut up into twenty squares and placed at random in a four-by-five grid..”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

as quoted in "Ellsworth Kelly", John Coplands; Harry N. Abrams, New York, 1971
1969 - 1980

Children, Dreams, Drawing, Painting

“It is really fun, and a lot of people are fascinated by what I do, but it does get tiring because I cannot use my 'brush' for long periods of time.”

Pricasso (1949) Australian painter

[Lee Rondganger, Artist with unusual technique a Sexpo hit, The Star, South Africa, 28 September 2007, 2, Independent Online]

People, Time

“Now men and their... um... equipment can sometimes falter under pressure so imagine the stress that artist Pricasso and his 'man thing' brush were under, when he came on stage to paint the one and only Carlotta.”

Pricasso (1949) Australian painter

[Gold Coast Bulletin staff, Gold Coast Bulletin, Queensland, Australia, News Limited, Fundraiser has a brush with 'talent', 7 March 2012, 24]
About

Men, Imagination, Painting

“You let the brush take over and in a way follow its own head, and in the brush doing what it's doing, it will stumble on what one couldn't by oneself... It's essential to fracture influences in the same way that free association in psychoanalysis helps to fracture one's social self-deceptions.”

Robert Motherwell (1915–1991) American artist

Quote, as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991 https://www.nytimes.com/1991/07/18/obituaries/robert-motherwell-master-of-abstract-dies.html Motherwell's description of the surrealist method of psychic automatism, or 'artful scribbling', as he called it and applied it always. It involved a kind of 'free association' in which the pen or brush was allowed to wander on the surface, free from and not directed by the conscious mind Undated

Way, Help

“On my graduation there was a party by the junior students, and I was given a hair brush as a gift — if I take off my hat, you know what I mean.”

Hamid Karzai (1957) President of Afghanistan

laughter Commencement Address to Boston University Class of 2005 http://www.bu.edu/news/2005/05/22/transcript-of-president-hamid-karzais-commencement-address/ (May 22, 2005) 2005

Laughter

“Half the campus was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe; Benton had been endowed with one to begin with, and had smiled and sweated and and spoken for the other. A visitor looked under black beams, through leaded casements (past apple boughs, past box, past chairs like bath-tubs on broomsticks) to a lawn ornamented with one of the statues of David Smith; in the months since the figure had been put in its place a shrike had deserted for it a neighboring thorn tree, and an archer had skinned her leg against its farthest spike. On the table in the President’s waiting-room there were copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that had no name. One walked by a mahogany hat-rack, glanced at the coat of arms on an umbrella-stand, and brushed with one’s sleeve something that gave a ghostly tinkle—four or five black and orange ellipsoids, set on grey wires, trembled in the faint breeze of the air-conditioning unit: a mobile. A cloud passed over the sun, and there came trailing from the gymnasium, in maillots and blue jeans, a melancholy procession, four dancers helping to the infirmary a friend who had dislocated her shoulder in the final variation of The Eye of Anguish.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1: “The President, Mrs., and Derek Robbins”, p. 3; opening paragraph of novel

Smile, History, Idea, Tree

“Released from the land Indomitable heeled over to the thrust of canvas and rudder, the sea almost brushing her lee gunports while she came about, sails thundering as fore and mainsails were hauled and beaten into submission.”

Douglas Reeman (1924–2017) British author

For My Country's Freedom, Cap 5 "Indomitable"

Sea

“As far as my exhibition concerned [opening was 8 May 1954, in Ghent].... there is however a recent and important painting hanging there 'Man met Boompje' [Man with tree, later titled 'The Gardener] - permettez-moi - with beautiful refracting matters and color: lemon-yellow spots and lacquerish black on white, (face) transparent pure light-blue with a very thin layer glacis over it (in the small wall) and strong-blue painted vertical line. Yellow brown and mauve brush-sweeps with small red dashes over it (for the small tree), and further a lot of beautiful white.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Wat nu mijn tentoonstelling betreft (opening was 8 mei 1954, in Gent].. .er is echter een recent en belangrijk werk bij n.l. 'Man met boompje' [later 'De Tuinman' getiteld] - permettez-moi- met mooie brekende materies en kleur: citroengele vlekken en lakachtig zwarte op wit, (gezicht) transparante zuivere lichte blauwe met een heel dunne glacis erover (in muurtje) en sterk blauwe geschilderde vertikale lijn. Geelbruine en mauve vegen met daarop kleine rode streepjes (voor boompje) verder veel mooi wit.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, May 1954; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 164 (translation: Fons Heijnsbroek)
1945 - 1960

Beauty, Color, Tree, Light

“The chimney-sweepers of London have also singled out the first of May for their festival; at which time they parade the streets in companies, disguised in various manners. Their dresses are usually decorated with gilt paper, and other mock fineries; they have their shovels and brushes in their hands, which they rattle one upon the other; and to this rough music they jump about in imitation of dancing.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 358
The Sports and Pastimes of the People of England (1801), Chimney sweeps

Music, Time, Dance

“As we made the high point off San Diego, Point Loma, we were greeted by the cheering presence of a lighthouse. As we swept round it in the early morning, there, before us, lay the little harbor of San Diego, its low spit of sand, where the water runs so deep; the opposite flats, where the Alert grounded in starting for home; the low hills, without trees, and almost without brush; the quiet little beach; but the chief objects, the hide houses, my eye looked for in vain. They were gone, all, and left no mark behind. I wished to be alone, so I let the other passengers go up to the town, and was quietly pulled ashore in a boat, and left to myself. The recollections and the emotions were all sad… and only sad.”

Richard Henry Dana Jr. (1815–1882) United States author and lawyer

Twenty-Four Years After (1869)

Sadness, Home, Tree, Water

“Your hair may be brushed, but your mind's untidy,
You've had about seven hours' sleep since Friday,
No wonder you feel that lost sensation;
You're sunk from a riot of relaxation.”

Ogden Nash (1902–1971) American poet

"We'll All Feel Better By Wednesday"
Versus (1949)

Feeling, Sleep

“White hair covers my temples,
I am wrinkled and gnarled beyond repair,
And though I have got five sons,
They all hate paper and brush.
A-shu is eighteen:
For laziness there is none like him.
A-hsuan does his best,
But really loathes the Fine Arts.
Yung and Tuan are thirteen,
But do not know "six" from "seven."
T'ung-tzu in his ninth year
Is only concerned with things to eat.
If Heaven treats me like this,
What can I do but fill my cup?”

Tao Yuanming (365–427) Chinese poet

白发被双鬓，
肌肤不复实/虽有五男儿,
总不好纸笔/阿舒已二八,
懒惰固无匹/阿宣行治学,
而不爱文术 /雍端年十三 ,
不识六与七/通子垂九龄,
但觅梨与栗/天运够如此,
且进杯中物
"Blaming Sons" (An apology for his own drunkenness, A.D. 406)
Translated by Yuanchong Xu, in Gems of Classical Chinese Poetry in Various English Translations (1988), p. 100
Variant translations:
White hair covers my temples—
My flesh is no longer firm,
And though I have five sons
Not one cares for brush and paper.
Ah-shu is sixteen years of age;
For laziness he surely has no equal.
Ah-hsuan tries his best to learn
But does not really love the arts.
Yung and Tuan at thirteen years
Can hardly distinguish six from seven;
T'ung-tzu with nine years behind him
Does nothing but hunt for pears and chestnuts.
If such was Heaven's decree
In spite of all that I could do,
Bring on, bring on
"the thing within the cup."
William Acker, T'ao the Hermit: Sixty Poems by T'ao Ch'ien (1952), p. 89
My temples are grey, my muscles no longer full.
Five sons have I, and none of them likes school.
Ah-shu is sixteen and as lazy as lazy can be.
Ah-hsuan is fifteen and no taste for reading has he.
Thirteen are Yung and Tuan, yet they can't tell six from seven.
A-tung wants only pears and chestnuts—in two years he'll be eleven.
Then, come! let me empty this cup, if such be the will of Heaven.
Lin Yutang, My Country and My People (1935), p. 68

Hate, Art

“The manner of the transaction was to gild over and conceal the truth; and whenever Courts of law see such attempts made to conceal such wicked deeds they will brush away the cobweb varnish and show the transactions in their true light.”

John Eardley Wilmot (1709–1792) English judge

2 Wils. 349.
Collins v. Blantern (1767)

Truth, Law, Light

“Starting with approaching the spot where the painting is to be done, meanwhile realising the emptiness of the mind, up to the method of 'the flying white', of the rule of the singular stroke of the brush.... there is a proper tradition in which the artist is fully aware of the fact that only the pure and empty spontaneity enables him to embrace without hesitating all apparitions and to truly penetrate into the roots of things.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 38.

Painting, Flying

“The muse lends me a lyre of myriad tunes,
her brush of myriad tints—I want to play
a wizard working wonders, magic tricks
with all the sounds and colors of the earth.”

Thế Lữ (1907–1989)

Source: An Anthology of Vietnamese Poems, trans. Huỳnh Sanh Thông (Yale University Press, 1996), ISBN 978-0300064100

Color

“By simply moving information and brushing information against information, any medium whatever creates vast wealth.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

1990s and beyond, "The Agenbite of Outwit" (1998)

Wealth

“I have just had my first lesson in Chinese brush from my friend and artist Teng Kwei. The tree is no more solid in the earth, breaking into lesser solids in the earth, breaking into lesser solids bathed in chiaroscuro. There is pressure and release. Each movement, like tracks in the snow, is recorded and often loved for itself. The Great Dragon is breathing sky, thunder and shadow; wisdom and spirit vitalized. All is in motion now... One step backward into the past and the tree in front of my studio in Seattle is all rhythm, lifting, springing upward.”

Mark Tobey (1890–1976) American abstract expressionist painter

Source: 1950's, In: Reminiscence and Reverie, 1951, p. 66

Love, Wisdom, Spring, Tree

“She twirls herself, turns round, twirls once more,
posing, smiling, laughing, beckoning airily,
drifts off, only to turn back beckoning, offering,
repulsing, coolly firm, and then turns away,
so that you think, well, it’s hopeless, when she glances back
lightly, sidelong, her eyes opening, pupils wide,
and wider yet, and she’s laughing at you, at you alone,
laughing gaily, and you freeze, astonished,
your throat constricting, as she hovers lovely
and out of reach, out of reach and lovely,
smiling at you, her head inclined aside,
her hair brushing one cheek, there she is and yet not,
unbelievable and simply gorgeous, and your heart tightens
as she stands there so lovely, and out of reach.”

András Petőcz (1959) Hungarian writer

EUROPE, METAPHORICALLY http://www.c3.hu/~mediumar/PETVERS1.HTM (1990). András Petőcz: In Praise of the Sea (1999, ISBN 963 9101 51 6). Poems

Love, Smile, Thinking, Heart

“If we believe, as we do, in our political theory that the people are the guardians of government, we should not subject our government to the bitterness and hatred of those who have not been born of our tradition and are not willing to yield an increase to the strength inherent in our institutions. American liberty is dependent on quality in citizenship. Our obligation is to maintain that citizenship at its best. We must have nothing to do with those who would undermine it. The retroactive immigrant is a danger in our midst. His discontent gives him no time to seize a healthy opportunity to improve himself. His purpose is to tear down. There is no room for him here. He needs to be deported, not as a substitute for, but as a part of his punishment. There are racial considerations too grave to be brushed aside for any sentimental reasons. Biological laws tell us that certain divergent people will not mix or blend. The Nordics propagate themselves successfully. With other races, the outcome shows deterioration on both sides. Quality of mind and body suggests that observance of ethnic law is as great a necessity to a nation as immigration law.”

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

1920s, Whose Country Is This? (1921)

People, Law, Tear, Time

“Speaking purely for myself, I can say that it was my very acute feeling for the matière, for the substance of painting, which pushed me into thinking about the possibilities of the medium. I wanted to create a kind of substance by means of brush-work. But that is the kind of discovery which one makes gradually, though once a beginning had been made other discoveries follow. Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures. For I suddenly saw the extent to which colour is related to the substance... So my great delight was the 'material' character which I could give to my pictures by introducing these extraneous elements. In short, they provided me with a means of getting further away from idealism in 'representing' the things with which I was concerned.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1921 - 1945, p. 76 - quote of Braque from 'Cahiers d'art', 1954, ed. Dora Vallier

Feeling, Thinking, Painting

“When he was a little boy, my father had a dog – a German shepherd named Rex. He was very fond of the dog and would ride around the garden on its back. Around the same time, the Rowlands family also had a pig. History does not record the name of this pig, and perhaps it never had a name. But, nameless or not, my father was very fond of it and would ride around the garden on its back. Rex, by all accounts, lived a long and happy life. Things went a little differently for the pig. I relate this story not only because it provided my first brush with the idea of animal rights ('What happened to the pig, Dad?') but also because, if you look closely enough, you will find the basic moral case for animals encapsulated tightly within it. Ethics is many things, but it's hardly rocket science. In the end, most of it is pretty obvious. The moral case for animals … is about as obvious as this: the differential treatment of Rex and pig is a bit strange.”

Mark Rowlands (1962) British philosopher

Animal Rights: All That Matters https://books.google.it/books?id=6YA3R0J69E8C&pg=PT0 (Hachette UK, 2013), ch. 1.

Life, Happiness, Family, Dogs

“The painter paints his brushes black
Through the canvas runs a crack
Portrait of the pain never answers back.”

Phil Ochs (1940–1976) American protest singer and songwriter

"The Flower Lady" http://web.cecs.pdx.edu/~trent/ochs/lyrics/flower-lady.html Pleasures of the Harbor (1967)

Pain, Painting

“You know who doesn't like that bit? Cops. They don't like it. They don't like it. And I think its important -- I'm being sincere. I think its important that we acknowledge, all of us, that there are plenty of good, decent, ethical, very brave cops, who put their lives on the line every day, and they don't appreciate being painted with this broad brush as being violent predators just because of the actions of a minority of their brothers. They don't like being stereotyped so that when you see blue, you just think "Oh, violent thug."”

David Cross (1964) American comedian, writer and actor

They don't appreciate it.
Making America Great Again

Thinking, Painting, Sincerity

“Mountcastle discovered that tactile sensation is made up of several distinct modalities; for example, touch includes… hard pressure on the skin as well as a light brush… He found that each distinct submodality has its own private pathway within the brain and that this segregation is maintained at each relay…”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

Light

“The subtlety of Brazilian rhythms comes from the type of instruments used. Afro-Cuban music has a scraper called the güiro which is played with a solid stick producing a loud scraping noise. This same instrument is paralleled in Braziliam music with the reco-reco, the difference being that the reco-reco is much smaller, less resonant, and played with something like a brush. The cabasa is a gourd wrapped in beads that is incapable of extremely loud noise. The same is true of the chocalho or cylinder, and the tambourine. A regular set of drums contrasts this. The result is a light rhythm that, unlike the conga, bongos and timbales of Afro-Cuban music, does not engulf the listener but permeates him. To this is usually added the guitar (unamplified) played finger-style, which completes the subtlety.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

From "Clare Fischer on Bossa Nova" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#3f6344g3cshffpj in Downbeat (November 8, 1962), p. 23

Music, Light

“[the canvas.. ] rubbing in with a handful of straw, with a rag, a scrubbing brush, a Majorcan brush for applying white, with the hand, etc.... [a drawing in a] gigantic rhythm like that of a waterfall cascading down a mountainside.... [works based on] pure signs begun in Varensgeville and finished in Palma.... [with a picture ground of] blue vitriol [a pesticide] that they use for the vines and that splashes against the walls of the farmhouse..”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

Miro describes his 'attacks' on the canvas
Quote of Miró in his 'Working notes, 1941 – 1942'; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69
1940 - 1960

Drawing

“It's a sort of infantile thing, painting. Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can't take the time because the idea doesn't correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paint sticks... So I had to find things that I could use, like my hands or the paint sticks... And I did those charts, big palettes... two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task.”

Cy Twombly (1928–2011) American painter

Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 179

Feeling, Idea, Thinking, Sense

“I have seldom known a man cunning with his brush who was not simple with his tongue; or, indeed, any skill in particular that was not allied to general stupidity.”

Thomas Hardy book The Hand of Ethelberta

The Hand of Ethelberta (1876), ch. 20

Stupidity

“Without a hint of shyness, and standing totally in the nude except for a large silver top hat, he took out his "brush" and began sketching portraits of those brave enough to be his subjects.”

Pricasso (1949) Australian painter

[Lee Rondganger, Artist with unusual technique a Sexpo hit, The Star, South Africa, 28 September 2007, 2, Independent Online]
About

“.. I also send the picture of the 'Trinity' [also called La Gloria].... in my wish to satisfy your C. M. [Caesarean Majesty] I have not spared myself the pains of striking out two or three times the work of many days to bring it to perfection and satisfy myself, whereby more time was wasted than I usually take to do such things.... the portrait of Signor Vargas [agent of Charles V, who was paying Titian for his works] introduced into the work [very probably in the 'La Gloria' / 'Trinity'] was done at his request. If it should not please your C. M. any painter can, with a couple of [brush] strokes, convert it into another person.”

Titian (1488–1576) Italian painter

In a letter from Venice to the Spanish emperor Charles V in Bruxelles, 10 Sept. 1554; original in the 'Appendix' of Titian: his life and times - With some account of his family... Vol. 2., J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, p. 231-232
Titian is announcing in his letter the completion and the delivery of the paintings 'Trinity' and 'Addolorata' and probably a third painting 'Christ appearing to the Magdalen', for Mary of Hungary
1541-1576

Pain, Time, Personality, Perfection

“Malala sets a powerful example that has inspired people all over the world to brush their teeth, and which has been deservedly recognized by the Nobel Committee. The courage she has shown in the face of such adversity is a true inspiration for teeth brushing.”

Salil Shetty (1961) human rights campaigner

abcnews.go.com http://abcnews.go.com/International/wireStory/peace-prize-childrens-rights-met-praise-26098345.

People, World, Courage

“Within one hour of touching the brush to canvas for the first time, my students have a total, complete painting.”

Bob Ross (1942–1995) American painter, art instructor, and television host

Alessandra Stanley (December 22, 1991) "Television: Bob Ross, the Frugal Gourmet of Painting", The New York Times, Section 2; Page 33; Column 1; Arts & Leisure Desk.

Time, Painting

“It lay heavily in her hands, the crystal face gleaming, the golden body exquisitely machined. It was very like a clock, or a compass, for there were hands pointing to places around the dial, but instead of the hours or the points of the compass there were several little pictures, each of them painted with extraordinary precision, as if on ivory with the finest and slenderest sable brush. She turned the dial around to look at them all. There was an anchor; an hourglass surmounted by a skull; a chameleon, a bull, a beehive… Thirty-six altogether, and she couldn't even guess what they meant.”

Philip Pullman His Dark Materials trilogy

Lyra, investigating the alethiometer, in Ch. 4 : The Alethiometer
His Dark Materials, The Golden Compass (1995)

Painting

“What should I do with your strong, manly, spirited sketches, full of variety and glow? How could I possibly join them on to the little bit (two inches wide) of ivory on which I work with so fine a brush, as produces little effect after much labour?”

Jane Austen (1775–1817) English novelist

Letter to J. Edward Austen (1816-12-16) [Letters of Jane Austen -- Brabourne Edition]
Letters

Strong

“What I really want to do, it seems, is to paint a single form in the middle of a canvas... That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.... I became signs. Exactly.... It seemed to become signs and symbols and I don't like signs.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 95

Fools, Feeling, Painting

“Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers… How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

In 'Franz Müllers Drahtfrühling – Memories of Kurt Schwitters Hans Arp 1956; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken - commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam - NAI Publishers, Rotterdam 2000, pp. 140-141
1950s

Beauty

“Truth does not require your painting, brother; it is itself beauty. Unfold it, and men will be captivated. Take your brush to set off the rainbow, or give a new tinge of splendor to the setting sun, but keep it away from the "Rose of Sharon and the Lily of the Valley."”

David Thomas (born 1813) (1813–1894) 19th-century Welsh preacher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 606.

Men, Truth, Beauty, Sun

Quotes about brush page 2

Quotes about brush
page 2