Quotes about contour

A collection of quotes on the topic of contour, form, way, likeness.

Quotes about contour

Yves Klein photo

“I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figuratives or abstract, seem to me like prison windows in which the lines, precisely are the bars.”

Yves Klein (1928–1962) French artist

Gilbert Perlein and Bruno Cora, Yves Klein: Long live the Immaterial, Delano Greenidge Edition, New York, 2001. p. 74
from posthumous publications

Emil M. Cioran photo
Eugène Delacroix photo

“The contour should come last, only a very experienced eye can place it rightly.”

Eugène Delacroix (1798–1863) French painter

Introduction (p. xxiv)
1815 - 1830, Delacroix' 'Journal' (1822 – 1824)

Antonin Scalia photo

“We reject the dissent's contention that our approach, by "largely return[ing] the task of defining the contours of Eighth Amendment protection to political majorities," leaves "‘[c]onstitutional doctrine [to] be formulated by the acts of those institutions which the Constitution is supposed to limit,'" […] By reaching a decision supported neither by constitutional text nor by the demonstrable current standards of our citizens, the dissent displays a failure to appreciate that "those institutions which the Constitution is supposed to limit" include the Court itself. To say, as the dissent says, that "‘it is for us ultimately to judge whether the Eighth Amendment permits imposition of the death penalty,'" (quoting Enmund v. Florida) -- and to mean that as the dissent means it, i. e., that it is for us to judge, not on the basis of what we perceive the Eighth Amendment originally prohibited, or on the basis of what we perceive the society through its democratic processes now overwhelmingly disapproves, but on the basis of what we think "proportionate" and "measurably contributory to acceptable goals of punishment" -- to say and mean that, is to replace judges of the law with a committee of philosopher-kings.”

Antonin Scalia (1936–2016) former Associate Justice of the Supreme Court of the United States

Stanford v. Kentucky (1989) (plurality part, case later overruled by Roper); decided June 26, 1989.
1980s

Jane Roberts photo

“I feel as if I am practicing some precise psychological art, one that is ancient and poorly understood in our culture; or as if I'm learning a psychological science that helps me map the contours of consciousness itself.”

Jane Roberts (1929–1984) American Writer

Source: The God of Jane: A Psychic Manifesto (1981), p. 4
Context: I don't feel "possessed" or "invaded during sessions. I don't feel that some superspirit has "taken over" my body. Instead I feel as if I am practicing some precise psychological art, one that is ancient and poorly understood in our culture; or as if I'm learning a psychological science that helps me map the contours of consciousness itself.

Barack Obama photo
Etty Hillesum photo
Alan Moore photo
Ernest Hemingway photo

“It is by riding a bicycle that you learn the contours of a country best, since you have to sweat up the hills and can coast down them. … Thus you remember them as they actually are, while in a motorcar only a high hill impresses you, and you have no such accurate remembrance of country you have driven through as you gain by riding a bicycle.”

Ernest Hemingway (1899–1961) American author and journalist

[By-Line, Ernest Hemingway: Selected Articles and Dispatches of Four Decades by Ernest Hemingway, White, William, 1967, Charles Scribner's Sons, New York, 364]
Source: By-Line: Selected Articles and Dispatches of Four Decades

George Biddell Airy photo
Emil Nolde photo

“I want so much for my work to grow forth out of the material, just as in nature the plants grow forth out of the earth, which corresponds to their character. In the print 'Lebensfreude' [Joy of living] I worked for the most part with my finger, and the effect I hoped for was achieved. There is hidden in the print a bit of wantonness, in the representation as well as in the boldness of the technique. If I were to make the "ragged and moving" contours "correctly" in the academic sense, this effect would not nearly be achieved.”

Emil Nolde (1867–1956) German artist

in a letter to his friend Gustav Schiefler, 1906, in 'Gustav Schiefler and Christel Mosel', Emil Nolde: Das graphische Werk, vol. 2.; M. DuMont Schauberg, Cologne, 1966-67, p. 8; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p.50
Nolde described how the exhilarating new sense of collaboration with the medium had freed him from the constraints of traditional etching techniques and encouraged a bolder, freer expression
1900 - 1920

Brian Leiter photo
Louis Auguste Blanqui photo
Ilana Mercer photo

“To comprehend the hysterical mass contagion that is the war on Trump it's essential to trace the contours of that other war, 'Operation Iraqi Freedom,' and the way it was peddled to the American public.”

Ilana Mercer South African writer

" Beware The Atavistic Dynamics Undergirding Two American Wars, https://misesuk.org/2017/06/21/beware-the-atavistic-dynamics-undergirding-two-american-wars/" The Ludwig von Mises Centre For Property and Freedom, June 21, 2017.
2010s, 2017

Auguste Rodin photo
Rudolf Steiner photo
Barbara Hepworth photo

“Against this view, it is still possible to identify some cultural continuities. Kitromilides himself alludes to some of them, when he mentions “inherited forms of cultural expression, such as those associated with the Orthodox liturgical cycle and the images of emperors, the commemoration of Christian kings, the evocation of the Orthodox kingdom and its earthly seat, Constantinople, which is so powerfully communicated in texts such as the Akathist Hymn, sung every year during Lent and forming such an intimate component of Orthodox worship...“ (Kitromilides 1998, 31). There are other lines of Greek continuity. Despite the adoption of a new religion, Christianity, certain traditions, such as a dedication to competitive values, have remained fairly constant, as have the basic forms of the Greek language and the contours of the Greek homeland (though its centre of gravity was subject to change). And John Armstrong has pointed to the “precocious nationalism” that took hold of the Greek population of the Byzantine Empire under the last Palaeologan emperors and that was directed as much against the Catholic Latins as against the Muslim Turks—an expression of medieval Greek national sentiment as well as a harbinger of later Greek nationalism. But again, we may ask: was this Byzantine sentiment a case of purely confessional loyalty or of ethnoreligious nationalism?”

Anthony D. Smith (1939–2016) British academic

See Armstrong 1982, I74—8I cf. Baynes and Moss 1969, 119—27, and Carras 1983.
Source: The Nation in History (2000), p. 42-43.

John Fante photo
Jack Vance photo
Barbara Hepworth photo
Samuel R. Delany photo
Salvador Dalí photo
Camille Paglia photo
Henri Lefebvre photo

“[U]p until now 'progress' has affected existing social realities only secondarily, modifying them as little as possible, according to the strict dictates of capitalist profitability. The important thing is that human beings are profitable, not that their lives be changed. As far as is possible, capitalism respects the pre-existing shape and contours of people's lives. Only grudgingly, so to speak, does it bring about any change. Criticism of capitalism as a contradictory 'mode of production' which is dying as a result of its contradictions is strengthened by criticism of capitalism as the distributor of the wealth and 'progress' it has produced.
And so, constantly staring us in the face, mundane and therefore generally unnoticed - whereas in the future it will be seen as a characteristic and scandalous trait of our era, the era of the decadent bourgeoisie - is this fact: that life is lagging behind what is possible, that it is retarded. What incredible backwardness. This has up until now been constantly increasing; it parallels the growing disparity between the knowledge of the contemporary physicist and that of the 'average' man, or between that of the Marxist sociologist and that of the bourgeois politician.
Once pointed out, the contrast becomes staggeringly obvious, blinding; it is to be found everywhere, whichever way we turn, and never ceases to amaze.”

Henri Lefebvre (1901–1991) French philosopher

From Critique of Everyday Life: Volume 1 (1947/1991)

Eugène Delacroix photo
M. C. Escher photo

“Now, I should like to say something else to you about the connection with music, primarily that of Bach, i. e. the Fugue or, put more simply, the canon... It has a great deal in common with my own motifs, which I make turn on various axes too. Nowadays I have such a powerful sense of relationship, of affinity, that when I am listening to Bach I frequently get inspired and feel an overwhelming instinct for his insistent rhythm, a cadence seeking something of the infinite. In the Fugue everything is based on a single motif, often consisting of just a few notes. In my work, too, everything revolves around a single closed contour..”

M. C. Escher (1898–1972) Dutch graphic artist

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): 'Nu wou ik je nog wat zeggen over het verband met muziek, en wel in hoofdzaak met die van Bach, d.w.z. de Fuga, of eenvoudiger canon.. .Het heeft heel veel van mijn motieven, die ik ook om verschillende assen laat draaien. Ik heb dat gevoel van relatie, verwantschap, tegenwoordig zoo sterk, dat ik tijdens het luisteren naar Bach, dikwijls geïnspireerd word en een sterke drang naar zijn dwingende ritme voel, een cadans die iets van de eindeloosheid zoekt. In de Fuga is alles gebaseerd op een enkel motief, dikwijls maar van enkele noten. Bij mij draait ook alles om een enkele gesloten contour..
Quote from Escher’s letter, 1940 to his friend Hein 's-Gravezande; as cited (and translated!) on the website of museum 'Escher in the Palace', The Hague: dutch original text https://www.escherinhetpaleis.nl/escher-vandaag and english translation https://www.escherinhetpaleis.nl/escher-today/?lang=en
1940's

Barbara Hepworth photo

“The Brahmans who were custodians of the idols and idol-houses, and “teachers of the infidels”, also received their share of attention from the soldiers of Allãh. Our citations contain only stray references to the Brahmans because they have been compiled primarily with reference to the destruction of temples. Even so, they provide the broad contours of another chapter in the history of medieval India, a chapter which has yet to be brought out in full. The Brahmans are referred to as magicians by some Islamic invaders and massacred straight away. Elsewhere, the Hindus who are not totally defeated and want to surrender on some terms, are made to sign a treaty saying that the Brahmans will be expelled from the temples. The holy cities of the Hindus were “the nests of the Brahmans” who had to be slaughtered before or after the destruction of temples, so that these places were “cleansed” completely of “kufr” and made fit as “abodes of Islam”. Amîr Khusrû describes with great glee how the heads of Brahmans “danced from their necks and fell to the ground at their feet”, along with those of the other “infidels” whom Malik Kãfûr had slaughtered during the sack of the temples at Chidambaram. Fîrûz Shãh Tughlaq got bags full of cow’s flesh tied round the necks of Brahmans and had them paraded through his army camp at Kangra. Muhmûd Shãh II Bahmanî bestowed on himself the honour of being a ghãzî, simply because he had killed in cold blood the helpless BrãhmaNa priests of the local temple after Hindu warriors had died fighting in defence of the fort at Kondapalli. The present-day progressives, leftists and dalits whose main plank is anti-Brahminism have no reason to feel innovative about their ideology. Anti-Brahminism in India is as old a the advent of Islam. Our present-day Brahmin-baiters are no more than ideological descendants of the Islamic invaders. Hindus will do well to remember Mahatma Gandhi’s deep reflection--“if Brahmanism does not revive, Hinduism must perish.””

Sita Ram Goel (1921–2003) Indian activist

Hindu Temples – What Happened to Them, Volume II (1993)

Alexej von Jawlensky photo
Charles Baudelaire photo

“It is imagination that has taught man the moral sense of color, of contour, of sound and of scent. It created, in the beginning of the world, analogy and metaphor. It disassembles creation, and with materials gathered and arranged by rules whose origin is only to be found in the very depths of the soul, it creates a new world, it produces the sensation of the new. As it has created the world (this can be said, I believe, even in the religious sense), it is just that it should govern it.”

Charles Baudelaire (1821–1867) French poet

C'est l'imagination qui a enseigné à l'homme le sens moral de la couleur, du contour, du son et du parfum. Elle a créé, au commencement du monde, l'analogie et la métaphore. Elle décompose toute la création, et, avec les matériaux amassés et disposés suivant des règles dont on ne peut trouver l'origine que dans le plus profond de l'âme, elle crée un monde nouveau, elle produit la sensation du neuf. Comme elle a créé le monde (on peut bien dire cela, je crois, même dans un sens religieux), il est juste qu'elle le gouverne.
"Lettres à M. le Directeur de La revue française," III: La reine des facultés http://fr.wikisource.org/wiki/Salon_de_1859_%28Curiosit%C3%A9s_esth%C3%A9tiques%29#III._.E2.80.94_La_reine_des_facult.C3.A9s
Salon de 1859 (1859)

“Map age genes place of origin
and love's lineaments.For mapped onto each body is love.Carthography of one's own country
or the contours of a foreign land”

Ingrid de Kok (1951) South African writer

"Body maps," http://www.oulitnet.co.za/multimedia/vonkverse_ingrid2.asp from Seasonal Fires: Selected and New Poems (2006), a contribution for the WikiAfrica Literature Project.

Daniel Levitin photo
Jack Kerouac photo

“Believe in the holy contour of life”

Jack Kerouac (1922–1969) American writer

"Belief & Technique For Modern Prose: List of Essentials" in a letter to Arabelle Porter (28 May 1955); published in Jack Kerouac: Selected Letters 1940-1956 (1995) and in a letter to Don Allen (1958); published in Heaven & Other Poems (1977)

George Steiner photo

“The realist, then, would seek in behalf of philosophy the same renunciation the same rigour of procedure, that has been achieved in science. This does not mean that he would reduce philosophy to natural or physical science. He recognizes that the philosopher has undertaken certain peculiar problems, and that he must apply himself to these, with whatever method he may find it necessary to employ. It remains the business of the philosopher to attempt a wide synoptic survey of the world, to raise underlying and ulterior questions, and in particular to examine the cognitive and moral processes. And it is quite true that for the present no technique at all comparable with that of the exact sciences is to be expected. But where such technique is attainable, as for example in symbolic logic, the realist welcomes it. And for the rest he limits himself to a more modest aspiration. He hopes that philosophers may come like scientists to speak a common language, to formulate common problems and to appeal to a common realm of fact for their resolution. Above all he desires to get rid of the philosophical monologue, and of the lyric and impressionistic mode of philosophizing. And in all this he is prompted not by the will to destroy but by the hope that philosophy is a kind of knowledge, and neither a song nor a prayer nor a dream. He proposes, therefore, to rely less on inspiration and more on observation and analysis. He conceives his function to be in the last analysis the same as that of the scientist. There is a world out yonder more or less shrouded in darkness, and it is important, if possible, to light it up. But instead of, like the scientist, focussing the mind's rays and throwing this or that portion of the world into brilliant relief, he attempts to bring to light the outlines and contour of the whole, realizing too well that in diffusing so widely what little light he has, he will provide only a very dim illumination.”

Ralph Barton Perry (1876–1957) American philosopher

Chap XXV.
The Present Conflict of Ideals: A Study of the Philosophical Background of the World War (1918)

Jean Dubuffet photo

“From the point of view of technique, I liked there to be internal lines in objects, I mean that instead of circumscribing forms, they animate the insides of things—the inside of formless and non-delimited areas. They function as internal textures and not primarily as contours.”

Jean Dubuffet (1901–1985) sculptor from France

Quote of Dubuffet in Catalogue, p. 47; as cited by Hubert Damisch, in 'Dubuffet or the Reading of the World', in 'Art de France 2' (1962), p. 337–346 (translated by Kent Minturn and Priya Wadhera)
1960-70's

Baruch Spinoza photo
Marilyn Ferguson photo
Alastair Reynolds photo

“Nature shouldn’t be able to do this, Sunday thought. It shouldn’t be able to produce something that resembled the work of directed intelligence, something artful, when the only factors involved were unthinking physics and obscene, spendthrift quantities of time. Time to lay down the sediments, in deluge after deluge, entire epochs in the impossibly distant past when Mars had been both warm and wet, a world deluded into thinking it had a future. Time for cosmic happenstance to hurl a fist from the sky, punching down through these carefully superimposed layers, drilling through these carefully superimposed layers, drilling the geological chapters like a bullet through a book. And then yesterday more time—countless millions of years—for wind and dust to work their callous handiwork, scouring and abrading, wearing the exposed layers back at subtly different rates depending on hardness and chemistry, util these deliberate-looking right-angled steps and contours began to assume grand and imperial solidity, rising from the depths like the stairways of the gods.
Awe-inspiring, yesterday. Sometimes it was entirely right and proper to be awed. And recognising the physics in these formations, the hand of time and matter and the nuclear forces underpinning all things, did not lessen that feeling. What was she, ultimately, but the end product of physics and matter? And what was her art but the product of physics and matter working on itself?”

Source: Blue Remembered Earth (2012), Chapter 17 (pp. 292-293)