Quotes about brush
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“[Pricasso] has achieved a good likeness and I can't imagine how he painted it without brushes or conventional equipment.”

Pricasso (1949) Australian painter

Mayor of Capetown Helen Zille — cited in: [Cape Argus staff, Artist uses a different stroke on Zille portrait, Cape Argus, South Africa, 7 May 2008, 3, Independent Online]
About

Imagination, Painting

“One of the main reasons American liberals adore Europe is that Europe still worships its intellectuals. In America, intellectuals are mostly for entertainment. But across the pond, these folks get to do real damage. Why, just this spring a small Italian village had its barbershop cited by the local magistrate because its shaving brushes did not conform to the standard set by the European Union. I am not making this up.”

Jonah Goldberg (1969) American political writer and pundit

June 13, 2001 http://web.archive.org/web/20010105/www.nationalreview.com/goldberg/goldbergprint061301.html 2000s, 2001

Spring

“So we had about 80 or 90 Germans there disarmed, and had another line of Germans to go through to get out. So I called for my men, and one of them answered from behind a big oak tree, and the others were on my right in the brush.
So I said, "Let's get these Germans out of here."
One of my men said, "it is impossible."”

Alvin C. York (1887–1964) United States Army Medal of Honor recipient

So I said, "No; let's get them out."
Account of 8 October 1918.
Diary of Alvin York

Men, Tree

“You know there is the Fudesaki. What do you think of it? The seventeen parts of the Fudesaki were not completed in a short while. God spoke into my ears, saying, ‘Do not look at any writings, even the charge book from a bean curd shop.’ I wondered why. Then God said, ‘Brush, brush, take up the brush.’ I took the brush up for the first time at New Year’s when I became seventy-two years old. And when I took the brush up, My hand moved by itself. From heaven, God did it. After what was to be done was finished, My hand became numb and it could not be moved. God said, ‘Calm Your mind, and read this. If You find something You cannot understand, ask Me.’ I added brush strokes when I found something I could not understand. That is the Fudesaki.”

Nakayama Miki (1798–1887) Founder of Tenrikyo

Anecdotes of Oyasama, Foundress of Tenrikyo, from Anecdote 22, "Writing the Ofudesaki," p. 16.
Anecdotes of Oyasama

God, Books, Understanding, Thinking

“The texture of the printed image is of such peculiar character that neither brush or liquid paint seem capable of imitating it.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 90

Painting

“In the discussion we had last year at Siegen, in this regard, emphasis was put on the sort of emptiness that has to be obtained from mind and body by a Japanese warrior-artist when doing calligraphy, by an actor when acting: the kind of suspension of ordinary intentions of mind associated with habitus, or arrangements of the body. It’s at this cost, said Glenn and Andreas, … that a brush encounters the “right” shapes, that a voice and a theatrical gesture are endowed with the “right” tone and look. The soliciting of emptiness, this evacuation—very much the opposite of overweening, selective identificatory activity—doesn’t take place without some suffering. … The body and mind have to be free of burdens for grace to touch us.”

Jean-François Lyotard (1924–1998) French philosopher

Source: Thought Without a Body? (1994), p. 296

Suffering

“Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.... the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials.”

Kurt Schwitters (1887–1948) German artist

1910s
Source: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

Art, Imagination, Painting

“When I started doing the 'Bursts' [paintings Gottlieb started c. 1958] I began to do part of the painting horizontally. It was necessary to do that because I was working with a type of paint which had a particular viscosity, which flowed, and if it were on a vertical surface it would just run. If it were on a horizontal surface, I could control it… I was using a combination of brushes and knives, palette knives… and spatulas… I’ve tried everything, rollers, rags, I’ve put paint on with everything.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Parting, Painting

“Still nursing the unconquerable hope,
Still clutching the inviolable shade,
With a free, onward impulse brushing through,
By night, the silver’d branches of the glade.”

Matthew Arnold (1822–1888) English poet and cultural critic who worked as an inspector of schools

St. 22
The Scholar Gypsy (1853)

Hope, Night

“The final tin-dip is useful to remove the marks of the brush, and to make the surface uniformly bright.”

Andrew Ure (1778–1857) Scottish doctor and chemist

1844, p. 1259.
A Dictionary of Arts, Manufactures, and Mines, 1844

“Visitors to the expo were amused and fascinated by portrait painter Pricasso and his unique brush.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Pole-dancing vixens keep visitors agog at Sexpo, 26 August 2011, 3, Independent Online]
About

“Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.”

Stephen Spender (1909–1995) English poet and man of letters

"Tradition-Bound Literature and Traditionless Painting"
The Struggle of the Modern (1963)

Art, Music, Painting

“We planted our crops in the spring, and they came up, and were looking nicely, and we were cheered with the hopes of having a very abundant harvest. But alas! it very soon appeared as if our crops were going to be swallowed up by a vast horde of crickets, that came down from these mountains-crickets very different to what I used to be acquainted with in the State of New York. They were crickets nearly as large as a man's thumb. They came in immense droves, so that men and women with brush could make no headway against them; but we cried unto the Lord in our afflictions, and the Lord heard us, and sent thousands and tens of thousands of a small white bird. I have not seen any of them lately. Many called them gulls, although they were different from the seagulls that live on the Atlantic coast. And what did they do for us? They went to work, and by thousands and tens of thousands, began to devour them up, and still we thought that even they could not prevail against so large and mighty an army. But we noticed, that when they had apparently filled themselves with these crickets, they would go and vomit them up, and again go to work and fill themselves, and so they continued to do, until the land was cleared of crickets, and our crops were saved. There are those who will say that this was one of the natural courses of events, that there was no miracle in it. Let that be as it may, we esteemed it as a blessing from the hand of God; miracle or no miracle, we believe that God had a hand in it, and it does not matter particularly whether strangers believe or not.”

Orson Pratt (1811–1881) Apostle of the LDS Church

Journal of Discourses 21:276-277 (June 20,1880)
Pratt describes the event in which seagulls disposed of swarms of crickets that were destroying their crops.
Miracle of the seagulls and crickets

Women, Men, God, Hope

“Mother held no influence over [my father]; though he bestowed much reverence and attention upon Adela. When she swept his chamber, it was to him a great and momentous ceremony, one that he never omitted to witness, following Adela’s every movement with a mixture of fear and a shudder of delight. He ascribed to her every action some deeper, symbolic meaning, and when the girl pushed a long-handled brush across the floor, with youthful and bold thrusts, it was almost beyond his endurance.”

Bruno Schulz (1892–1942) Polish novelist and painter

“The Birds” http://www.schulzian.net/translation/shops/birds.htm His father, Adela (the domestic servant)

Youth, Fear, Girl

“Against this current conception of religion the prophets insisted on a right life as the true worship of God. Morality to them was not merely a prerequisite of effective ceremonial worship. They brushed sacrificial ritual aside altogether as trifling compared with righteousness, nay, as a harmful substitute and a hindrance for ethical religion.”

Walter Rauschenbusch (1861–1918) United States Baptist theologian

Source: Christianity and the Social Crisis (1907), Ch.1 The Historical Roots of Christianity the Hebrew Prophets, p. 5

Life, God, Religion

“Well, now is the time to peel back the foreskin of misconception and apply the wire brush of enlightenment to this mass of sticky half-truths and lies. The truth hurts, but not as much as the consequences of willful ignorance.”

Charles Stross book Iron Sunrise

Source: Iron Sunrise (2004), Chapter 5, “Another Day, Another Editorial” (p. 71)

Truth, Time, Hurt

“After such a close brush with mortality I feel that I have an obligation to destiny and want to do something with my life that will benefit mankind. I am not a writer but think the best thing I can do is try to report on and understand what is happening in the world.”

Virgil John Tangborn (1920–1944)

October 1, 1938

Life, World, Feeling, Understanding

“I deserve to be chained by night in a church basement without company o' cassette player if I'm not man enough to ask you for the teeniest, slightest brush of oral-muscular affaction.”

Tom Robbins book Jitterbug Perfume

Jitterbug Perfume (1984)

Night

“Even of old the Christian world, so bitterly antagonistic to any ideas not specifically contained in their creeds and dogmas, made an exception in Socrates’ case. They recognized his likeness to Christ. He was the example that a soul could be Christlike, not through grace, but by nature. Erasmus said: "Holy Socrates, pray for us." To know him is a help to knowing Christ, and it is not hard to know him. We can see him quite clearly. Plato, who drew his portrait, could not, of course, keep himself out of it, any more than Christ’s recorders could; but at least magic did not dog Plato’s footsteps, as it did everyone’s footsteps when the Gospels were written. In the fourth century B. C. Greeks had no leaning to marvels. Also in the centuries that followed no one founded a church on Socrates and built up around him a theology and hung creeds and ceremonials upon him. To see what he was, we do not have to brush anything away, except a bit of Plato. We can use him as a stepping stone to Christ, a first aid in realizing what Christ was.”

Edith Hamilton (1867–1963) American teacher and writer

"The Rediscovery of Christ," Witness to the Truth: Christ and His Interpreters (1962)

World, Dogs, Soul, Idea

“In the great desert of northern Arizona the traveller, threading his way across a sage-brush and cacti plain shut in by abrupt-sided shelves of land rising here and there some hundreds of feet higher, suddenly comes upon a petrified forest.”

Percival Lowell (1855–1916) American astronomer

Source: Mars as the Abode of Life (1908), Chapter IV, p. 125

Way, Travel

“Secrecy was paramount. Britain's imperial general staff knew there would be outrage if it became known that the government was intending to use its secret stockpile of chemical weapons. But Winston Churchill, then secretary of state for war, brushed aside their concerns. As a long-term advocate of chemical warfare, he was determined to use them against the Russian Bolsheviks.”

Giles Milton (1966) British writer and historian

Winston Churchill's shocking use of chemical weapons https://www.theguardian.com/world/shortcuts/2013/sep/01/winston-churchill-shocking-use-chemical-weapons (1 September 2013), .

War, Secret

“ Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)”

Colin Cherry (1914–1979) British scientist

See Gombrich in reference 348
On Human Communication (1957), Language: Science and Aesthetics

Books, Color, Communication, Idea

“As collage technique replaced oil paint, the cathode ray tube will replace the canvas. Someday artists will work with capacitors, resistors, and semiconductors as they work today with brushes, violins and junk. There are 4,000,000 dots per second on one television screen, just think of the variety of images you can get. It's so cool. It's like going to the moon.”

Nam June Paik (1932–2006) American video art pioneer

Manifesto, New York, October 1965, as cited in Jasia Reichardt (1971). The computer in art. p. 95
1960s

Thinking, Painting

“Our slaves till the land, do the coarse and hard labor on our roads and canals, sweep our streets, cook our food, brush our boots, wait on our tables, hold our horses, do all hard work, and fill all menial offices. Your freemen at the North do the same work and fill the same offices. The only difference is, we love our slaves, and we are ready to defend, assist and protect them; you hate and fear your white servants, and never fail, as a moral duty, to screw down their wages to the lowest, and to starve their families, if possible, as evidence of your thrift, economy and management—the only English and Yankee virtues.”

George Fitzhugh (1806–1881) American activist

Source: Cannibals All!, or Slaves Without Masters (1857), p. 320-321

Love, Hate, Fear, Family

““You learning anything from this?” Tyrell asked.
Turk stood up and brushed his hands. “Yeah. I'm learning that I know even less than I thought I did.””

Robert Charles Wilson book Axis

Source: Axis (2007), Chapter 3 (p. 36)

Learning

“Lazy technology: the electric toothbrush—that always made me laugh. The electric toothbrush—what, is brushing your teeth too strenuous an exercise? For some people? You got people goin' [imitates fast, strenuous brushing of teeth]. "Man, I am really feeling the burn here. Wish this thing had a motor on it." Why don't you just have electric deodorant?”

Tim Hawkins (1968) Christian comedian, songwriter, and singer

imitates use of electric deodorant Available on YouTube as " Tim Hawkins on Products https://www.youtube.com/watch?v=8MdVx6UYpHg" (uploaded 27 August 2007). Full Range of Motion (2006)

People, Feeling, Exercises

“I'm a clown with brush and color.”

Ralf Metzenmacher (1964) German artist, designer and painter

Nürnberger Nachrichten, August 17, 2007

Color

“The famous nude artist, Pricasso, who uses his member to paint, was kept busy swishing his "brush" over the canvas. He was quite a drawcard - and many a male observer whipped out his cellphone to take a picture.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Sexpo's popularity profitable for entrepreneurial granny, 6 February 2009, 5, Independent Online]
About

Business, Painting

“Chantrey [good friend of Turner] is as gay and as good as ever, ready to serve: he requests, for my benefit, that you bottle up all the yellows which may be found straying out of the right way; but what you may have told him about the old masters which you did not tell me, I can't tell, but we expected to hear a great deal from each other, but the stormy brush of Tintoretto was only to make the 'Notte' more visible.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote from Turner's letter, London Feb. 1830, to his friend George Jones in Rome; as cited in 'The life of J.M.W. Turner', Volume II, George Walter Thornbury; https://ia801207.us.archive.org/18/items/lifeofjmwturnerr02thor/lifeofjmwturnerr02thor.pdf Hurst and Blackett Publishers, London, 1862, p. 234 1821 - 1851

Way

“For many years I suffered from a severe and continuous nervous breakdown tending to melancholia — and beyond. During about the third year of this trouble I went, in devout faith and some faint stir of hope, to a noted specialist in nervous diseases, the best known in the country. This wise man put me to bed and applied the rest cure, to which a still-good physique responded so promptly that he concluded there was nothing much the matter with me, and sent me home with solemn advice to "live as domestic a life as far as possible," to "have but two hours' intellectual life a day," and "never to touch pen, brush, or pencil again" as long as I lived. This was in 1887.
I went home and obeyed those directions for some three months, and came so near the borderline of utter mental ruin that I could see over.
Then, using the remnants of intelligence that remained, and helped by a wise friend, I cast the noted specialist's advice to the winds and went to work again — work, the normal life of every human being; work, in which is joy and growth and service, without which one is a pauper and a parasite — ultimately recovering some measure of power.
Being naturally moved to rejoicing by this narrow escape, I wrote The Yellow Wallpaper, with its embellishments and additions, to carry out the ideal (I never had hallucinations or objections to my mural decorations) and sent a copy to the physician who so nearly drove me mad. He never acknowledged it.”

Charlotte Perkins Gilman (1860–1935) American feminist, writer, commercial artist, lecturer and social reformer

"Why I Wrote The Yellow Wallpaper" in The Forerunner (October 1913) http://www.library.csi.cuny.edu/dept/history/lavender/whyyw.html

Life, Disease, Faith, Hope

“[I was] happily contended to be climbing the heights and the clouds by the brush method.... rendering the God-spirit in the mountains.”

Marsden Hartley (1877–1943) American artist

letter to Horace Traubel around 1908; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 18
1908 - 1920

God, Mountain

“My brush-strokes start in nothing and they end in nothing, and in-between you find the image.”

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

Quote from 'The eye of the beholder', Carlo McCormick
Karel Appel – the complete sculptures,' (1990) not-paged

“The crippling human cover spread over the living layer of the Earth must forcibly be made lighter: breathing holes must be punctured in this blanket and the ecological footprint of man brushed away. Forms of boastful consumption must violently be crushed, the natality of the species violently controlled, and the number of those already born violently reduced — by any means possible.”

Pentti Linkola (1932) Finnish ecologist

Can Life Prevail?: A Revolutionary Approach to the Environmental Crisis. page 170

“Newspapers, universities and schools should encourage the study of the country's pertinent components. To know them is sufficient, without mincing words; for whoever brushes aside even a part of the truth, whether through intention or oversight, is doomed to fall. The truth he lacks thrives on negligence, and brings down whatever is built without it. It is easy to resolve our problem knowing its components than resolve them without knowing them.”

José Martí (1853–1895) Poet, writer, Cuban nationalist leader

Our America (1881)
Original: (es) En el periódico, en la cátedra, en la academia, debe llevarse adelante el estudio de los factores reales del país. Conocerlos basta, sin vendas ni ambages; porque el que pone de lado, por voluntad u olvido, una parte de la verdad, cae a la larga por la verdad que le faltó, que crece en la negligencia, y derriba lo que se levanta sin ella. Resolver el problema después de conocer sus elementos, es más fácil que resolver el problema sin conocerlos.

Variant translation: In the newspapers, lecture halls, and academies, the study of the country's real factors must be carried forward. Simply knowing those factors without blindfolds or circumlocutions is enough — for anyone who deliberately or unknowingly sets aside a part of the truth will ultimately fail because of the truth he was lacking, which expands when neglected and brings down whatever is built without it. Solving the problem after knowing its elements is easier than solving it without knowing them.
Ref: en.wikiquote.org - José Martí / Quotes / Our America (1891)

Truth, School, Problem, Study

“I used to paint some things a few times, but I stopped, because I didn't get an answer. If the work has nothing to say to somebody else, I quit. I am not an idiot who is talking to himself and gazing at the tip of his brush. Painting you do together.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Voorheen heb ik ook wel eens wat geschilderd, maar omdat ik toen geen antwoord kreeg, ben ik ermee gestopt. Als het een ander niets te zeggen heeft, stop ik ermee. Ik ben geen idioot die in zichzelf zit te praten en naar de punt van het penseel zit te staren. Schilderen doe je met elkaar.
Source: Jopie Huisman', 1981, p. 57

Time, Painting

“(Sylvia at typewriter) A lady never offers a new lover a complimentary tooth brush, razor and sewing kit the next morning.”

Nicole Hollander (1939) Cartoonist

Source: Sylvia cartoon strip, p. 123

Lovers

“[Frank] Stella is not interested in expression or sensitivity. He is interested in the necessity of painting... His stripes are the paths of brush on canvas. These path leads only into painting.”

Carl Andre (1935) American artist

quote c. 1959, in 'Preface to Stripe Painting', by Carl Andre, in Sixteen Americans ed. Miller, p. 76
Andre's remark is referring to Andre's close artist-friend Frank Stella, the American minimalist painter

Painting

“I wanted to burn down the 'École de Beaux Arts' with my cobalts and vermilions and I wanted to express my feelings with my brushes without troubling what painting was like before me... Life and me, me and life.”

Maurice de Vlaminck (1876–1958) French painter

Quote of De Vlaminck; as cited in Picasso, Matisse and Modernism in Paris 1900-1910, Sue Roe; Penguin Press, 2015; quoted in 'Becoming an Artist' on Widewalls https://www.widewalls.ch/artist/maurice-de-vlaminck/ Quotes undated

Life, Art, Feeling, Painting

“Oh will you come with us
To find the song of the oil and the brush?”

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

Song lyrics, Aerial (2005), A Sky of Honey (Disc 2)

“Truth can be like a large, bothersome fly – brush it away and it returns buzzing.”

Yahia Lababidi (1973)

Signposts to Elsewhere (2008)

Truth, Flying

“A person in a rented apartment must be able to lean out of his window and scrape off the masonry within arm's reach. And he must be allowed to take a long brush and paint everything outside within arm's reach. So that it will be visible from afar to everyone in the street that someone lives there who is different from the imprisoned, enslaved, standardised man who lives next door.”

Friedensreich Hundertwasser (1928–2000) Austrian artist

Window Dictatorship and Window Rights (1990) http://www1.kunsthauswien.com/english/fenster.htm

Painting, Personality

“Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn't touch the surface on the canvas, it's just above.... [so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

Freedom, Painting

“Ten Practical Experiments
1. Spacing (use gray appearance charcoal)
2. Shape (in varying proportions)
3. Arrangement
4. Rhythm
5. Drawn Line (charcoal and brush)
6. Masses(Chinese and Japanese ink painting)
7. Tone (difference)
8. Color ( suggested by stain glass)
9. Dark and Light(crayon on black paper)
10. Intensities”

Arthur Wesley Dow (1857–1922) painter from the United States

A Course in Fine Arts- Arthur Dow- Bulletin of College of Art of Association of America Vol 1 no 4 September 1918
A Course in Fine Arts

Color, Light, Appearance, Painting

“Physicists are more like avant-garde composers, willing to bend traditional rules and brush the edge of acceptability in the search for solutions.”

Brian Greene book The Elegant Universe

The Elegant Universe : Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory (1999), p. 271
Context: Physicists are more like avant-garde composers, willing to bend traditional rules and brush the edge of acceptability in the search for solutions. Mathematicians are more like classical composers, typically working within a much tighter framework, reluctant to go to the next step until all previous ones have been established with due rigor. Each approach has its advantages as well as drawbacks; each provides a unique outlet for creative discovery. Like modern and classical music, it’s not that one approach is right and the other wrong – the methods one chooses to use are largely a matter of taste and training.

“We were deep in the brush and we couldn't see the Germans and they couldn't see us. But we could hear their machine guns shooting something awful.”

Alvin C. York (1887–1964) United States Army Medal of Honor recipient

Account of 8 October 1918.
Diary of Alvin York
Context: We were deep in the brush and we couldn't see the Germans and they couldn't see us. But we could hear their machine guns shooting something awful. Savage's squad was leading, and mine, Early's and Cutting's followed. — And when we jumped across a little stream of water that was there, they was about 15 or 20 Germans jumped up and threw up their hands and said, "Kamerad!" So the one in charge of us boys told us not to shoot: they was going to give up anyway.
It was headquarters. There were orderlies, stretcher bearers and runners, and a major and two other officers, They were just having breakfast and there was a mess of beef-steaks, jellies, jams, and loaf bread around. They were unarmed, all except the major.
We jumped them right smart and covered them, and told them to throw up their hands and to keep them up. And they did. I guess they thought the whole American army was in their rear. And we didn't stop to tell them anything different. No shots were fired, and there was no talking between us except when we told them to "put them up."

“When we see the beauty of the snow, when we see the beauty of the full moon, when we see the beauty of the cherries in bloom, when in short we brush against and are awakened by the beauty of the four seasons, it is then that we think most of those close to us, and want them to share the pleasure.”

Yasunari Kawabata (1899–1972) Japanese author, Nobel Prize winner

Japan, the Beautiful and Myself (1969)
Context: Dr. Yashiro Yukio, internationally known as a scholar of Botticelli, a man of great learning in the art of the past and the present, of the East and the West, has summed up one of the special characteristics of Japanese art in a single poetic sentence: "The time of the snows, of the moon, of the blossoms — then more than ever we think of our comrades." When we see the beauty of the snow, when we see the beauty of the full moon, when we see the beauty of the cherries in bloom, when in short we brush against and are awakened by the beauty of the four seasons, it is then that we think most of those close to us, and want them to share the pleasure. The excitement of beauty calls forth strong fellow feelings, yearnings for companionship, and the word "comrade" can be taken to mean "human being". The snow, the moon, the blossoms, words expressive of the seasons as they move one into another, include in the Japanese tradition the beauty of mountains and rivers and grasses and trees, of all the myriad manifestations of nature, of human feelings as well.

Pleasure, Beauty, Thinking, Season

“People are just gonna hate you for really stupid reasons sometimes. And you just gotta power over it. You just gotta brush it off. Be yourself. Be happy with who you are. And stop trying to please everybody else. Just be happy, don't take haters seriously.”

Шол МакЛохлин (JackSepticEye) (1990)

Hate, Happiness, People, Stupidity

“There were considerably over 100 prisoners now. It was a problem to get them back safely to our own lines. There were so many of them, there was danger of our own artillery mistaking us for a German counterattack and opening upon us. I sure was relieved when we ran into the relief squads that had been sent forward through the brush to help us.”

Alvin C. York (1887–1964) United States Army Medal of Honor recipient

Account of 8 October 1918
Diary of Alvin York

Problem, Help

“I believe—when somebody gave me a pencil and a sheet of paper—was to create a world for myself, basically. It sort of made everything fall to the wayside. The environment where I was growing up, the poverty—all of that just sort of fell to the wayside, and I was able to create these worlds and enter into it. And I think that sort of isolated me a lot from other kids in the neighborhood, even isolated me while I was going to school. And my earliest recollections of entering school was the times when it was art time, and they had easels and they had paint and they had brushes…”

Gronk (artist) (1954) American artist

On when he discovered his love for art in “Oral history interview with Gronk, 1997 Jan. 20-23” https://www.aaa.si.edu/collections/interviews/oral-history-interview-gronk-13586#transcript (Smithsonian Archives of American Art)

World, School, Art, Thinking

“Physical Training...The Material or Carnal Body ~ Hand in hand with the inner development of spirit and soul has to go that of the outer, the body also. No part of your Ego must lag behind or be neglected. Right in the morning, after getting up, you will brush your body with a soft brush until your skin turns faintly reddish. By doing so, your pores will open and be able to breathe more freely. Besides, the kidneys are exonerated for the most part. Then wash your whole body or the upper part of it, at least, with cold water and rub it with a rough towel until you feel quite warm. Sensitive people may use lukewarm water, especially in the cold season. This procedure ought to become a day’s routine and be kept for a lifetime. It is so refreshing and removes tiredness. In addition to this, you should practice morning gymnastics, at least for some minutes a day, to keep your body flexible. I shall not put up a special program of such gymnastic exercise as everyone can draw it up according to his age and personal liking. What matters most is to keep your body elastic.”

Franz Bardon book Initiation Into Hermetics

Source: Initiation Into Hermetics (1956), p. 37

People, Age, Feeling, Exercises

Alvin C. York (1887–1964) United States Army Medal of Honor recipient

Account of 8 October 1918
Diary of Alvin York

Problem, Help

“No, father, you preach from the pulpit and I will preach with my brush.”

Henry Ossawa Tanner (1859–1937) American painter

On a story he used to tell about his father wanting him to be a preacher, which Tanner himself referred to as a “pretty story” (as quoted in “Henry Ossawa Tanner: Race, Religion, and Visual Mysticism” https://fsu.digital.flvc.org/islandora/object/fsu:169182/datastream/PDF/view (Florida State University Libraries, 2003)

“Only a catastrophe gets our attention. We want them, we depend on them. As long as they happen somewhere else. This is where California comes in. Mud slides, brush fires, coastal erosion, mass killings, et cetera. We can relax and enjoy these disasters because in our hearts we feel that California deserves whatever it gets. Californians invented the concept of life-style. This alone warrants their doom.”

Don DeLillo book White Noise

White Noise (1984)

Life, Feeling, Heart, Dependency

“I put my hand on him. Touching him has always been important to me, it was something I lived for. I never could explain why. Little, nothing touches, my fingers against his shoulder, the outsides of our thighs touching as we squeeled together on the bus. I couldnt explain it, but I needed it. Sometimes I imagined stiching all of our little touches together. How many hundreds of thousands of fingers brushing against each other does it take to make love?”

Jonathan Safran Foer book Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close (2005)

Love, Making love, Imagination

“Nor at present, nor in the past, we have ever denied,
That your sense of justice is trumpeted far and wide.
Whatever has been happening, we also accept
Fell within the limits of law, with justice as your guide.
Even when you ordered firing on the helpless multitude,
You didn't even by a hair-breadth the law of land defied.
But this truth too cannot be lightly brushed aside,
Thay your act unleashed a deluge of death in the twinkling of an eye,
The handsome youth when they fell before your deadly fire],
Wondered if it was the doom, or the stars shooting from the [[sky.
The arch and pulpit of the mosque were left riddled with bullets,
But the mosque needs perhaps such patterns on its front and sides.
Fast-fettered did they watch, the convicts and the passers-by,
And the police took the stand: How can we, the servants, the sovereign's fiat defy?
But let's state the fact, you may or may not like,
We are the oppressed folk, you are not the oppressor, right!”

Shibli Nomani (1857–1914) Indian scholar

Masterpieces of Patriotic Urdu Poetry, p. 105
Poetry, Oppression

Death, Truth, Youth, Justice

“We have been alienated by costs that soared beyond the means of all but the well-insured or wealthy; by specialization and the cold, quantifying approach that brushes past human concerns, and by the growing despair that comes from spending without regaining health.”

Marilyn Ferguson (1938–2008) American writer

Source: The Aquarian Conspiracy (1980), Chapter Eight, Healing Ourselves, p. 244

Health, Past, Despair

“Art is my language, pens and brushes are my armor.”

Lord Gibson

Frome the Drawings "Angels" and "Epiphany"

Art

“[T]he artist sells the work of his brush and in this he is a merchant. The writer sells to any who will buy, let his ideas be what they will. The teacher sells his knowledge of books—often in too low a market—to those who would have this knowledge passed on to the young.
The doctor... too is a merchant. His stock-in-trade is his intimate knowledge of the physical man and his skill to prevent or remove disabilities. ...The lawyer sometimes knows the laws of the land and sometimes does not, but he sells his legal language, often accompanied by common sense, to the multitude who have not yet learned that a contentious nature may squander quite as successfully as the spendthrift. The statesman sells his knowledge of men and affairs, and the spoken or written exposition of his principles of Government; and he receives in return the satisfaction of doing what he can for his nation, and occasionally wins as well a niche in its temple of fame.
The man possessing many lands, he especially would be a merchant... and sell, but his is a merchandise which too often nowadays waits in vain for the buyer. The preacher, the lecturer, the actor, the estate agent, the farmer, the employé, all, all are merchants, all have something to dispose of at a profit to themselves, and the dignity of the business is decided by the manner in which they conduct the sale.”

Harry Gordon Selfridge (1858–1947) America born English businessman

The Romance of Commerce (1918), Concerning Commerce

Men, Books, Law, Idea

“It’s not the size of the brush; it’s the expanse of the imagination.”

Ron English (1959) American artist

Ron English's Fauxlosophy (2016)

Imagination

“The truth is incontrovertible. Malice may attack it, ignorance may deride it, but in the end, there it is. Most people, sometime in their lives, stumble across truth. Most jump up, brush themselves off, and hurry on about their business, as if nothing happened.”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

As quoted in, but without a documented source: Joseph Romanella (2012): Adam's Dream: Is Everything We Think, Believe, and Perceive Real—or Is It All Imaginary? https://books.google.de/books?id=vjQvJ1EITDkC&pg=PR30&lpg=PR30&dq=The+truth+is+incontrovertible.+Malice+may+attack+it,+ignorance+may+deride+it,+but+in+the+end,+there+it+is.+source&source=bl&ots=2z1rN6iBG6&sig=ACfU3U20jzEJtXfaAFYwx1K2zhzOOFzkog&hl=de&sa=X&ved=2ahUKEwjQuemItuLpAhUNxqYKHR_LDccQ6AEwAnoECAUQAQ#v=onepage&q=The%20truth%20is%20incontrovertible.%20Malice%20may%20attack%20it%2C%20ignorance%20may%20deride%20it%2C%20but%20in%20the%20end%2C%20there%20it%20is.%20source&f=false, page xxx. ISBN: 978-1-4525-0823-8 (sc). ISBN: 978-1-4525-0824-5 (e). Bloomington, Indiana, United States of America: Balboa Press, a division of Hay House. Disputed

People, Truth, Business

“What do I want my boy to be?
Oft is the question asked of me,
And oft I ask it of myself -
What corner, niche or post or shelf
In the great hall of life would I
Select for him to occupy?
Statesman or writer, poet, sage
Or toiler for a weekly wage,
Artist or artisan? Oh, what
Is to become his future lot?
For him I do not dare to plan;
I only hope he'll be a man.I leave it free for him to choose
The tools of life which he shall use,
Brush, pen or chisel, lathe or wrench,
The desk of commerce or the bench,
And pray that when he makes his choice
In each day's task he shall rejoice.
I know somewhere there is a need
For him to labor and succeed;
Somewhere, if he be clean and true,
Loyal and honest through and through,
He shall be fit for any clan,
And so I hope he'll be a man.”

Edgar Guest (1881–1959) American writer

Source: When Day is Done (1921), A Father's Wish, stanzas 1 and 2.

Life, Hope, Boy, Question

Quotes about brush page 3

Quotes about brush
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