Quotes about draw
page 9

“I came to Paris with all my ideas of art fixed, and I have never found it necessary to change them. I have been more or less in love with this master, or that method in art, but I have not modified any fundamental opinions. You have seen my first drawing, made at home without a master, without a model, without a guide. I have never done anything different since. You have never seen me paint except in a low tone; demi-teinte [half-tone] is necessary to me in order to sharpen my eyes and clear my thoughts, - it has been my best teacher.”

Jean-François Millet (1814–1875) French painter

Millet is describing his development as artist to his friend and later biographer fr:Alfred_Sensier
Source: Jean-Francois Millet – Peasant and Painter, 1881, p. 44

Love, Art, Home, Idea

“What would be the effect of gradually drawing away from the iron laws under which, since its scampering pleistocene infancy, humankind had lived?”

Brian W. Aldiss (1925–2017) British science fiction author

“Man in His Time” p. 209
Short fiction, Who Can Replace a Man? (1965)

Law, Drawing

“It is too evident that if the drawing is bad, the color false, the deepest emotion must fail to express itself.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Color, Drawing, Falseness

“You had that action and counteraction which, in the natural and in the political world, from the reciprocal struggle of discordant powers draws out the harmony of the universe.”

Edmund Burke book Reflections on the Revolution in France

Volume iii, p. 277
Reflections on the Revolution in France (1790)

World, Nature, Universe, Drawing

“"No man can come to Christ except the Father draw him." If he comes asking, that proves he comes drawn.”

Charles Seymour Robinson (1829–1899) American pastor, editor and compiler of hymns

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 151.

Christ, Drawing

“In fact, my art generally nauseated me. Often, when I wanted to set down a poem on an uncontaminated piece of paper, I′d start feeling sick and I did actually throw up in front of many drawings. I tremble all over in front of each picture-poem and before every action I would swallow a jar of pressed vine vermin. Time and again I strove for a kind of non-art, and time and again I failed, like a chimpanzee wanting to throw away a banana without peeling it. My disgust at producing art naturally atracted collectors, and ocassionaly photographers.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 238 (2002)

Art, Feeling, Nature, Time

“That is the lavender landscape Herr Mayer was talking about
when he lost his eye
Only the fire department can drive the nightmare from the drawing-
room but all the hoses are broken…”

Richard Huelsenbeck (1892–1974) German poet

End of the World, Ende der Welt', 1919

Drawing

“As I sit at my desk, I know where I am. I see before me a window; beyond that some trees; beyond that the red roofs of the campus of Stanford University; beyond them the trees and the roof tops which mark the town of Palo Alto; beyond them the bare golden hills of the Hamilton Range… beyond that other mountains, range upon range, until we come to the Rockies; beyond that the Great Plains and the Mississippi; beyond that the Alleghenies; beyond that the eastern seaboard; beyond that the Atlantic Ocean; beyond that is Europe; beyond that is Asia. I know, furthermore, that if I go far enough I will come back to where I am now. In other words, I have a picture of the earth as round. I visualize it as a globe. I am a little hazy on some of the details… I probably could not draw a very good map of Indonesia, but I have a fair idea where everything is located on the face of this globe. Looking further, I visualize the globe as a small speck circling around a bright star which is the sun, in the company of many other similar specks, the planets. Looking still further, I see our star the sun as a member of millions upon millions of others in the Galaxy. Looking still further, I visualize the Galaxy as one of millions upon millions of others in the universe.”

Kenneth E. Boulding (1910–1993) British-American economist

Source: 1950s, The Image: Knowledge in Life and Society, 1956, p. 3 Introduction

Mountain, Star, Idea, Tree

“It is not a recognisable scene [his two paintings 'Dances at the spring', 1912 - Picabia painted the motion and the excitement of a peasant dance while he was on his honeymoon in the countryside of Italy; one version is lost]. There is no dancer, no spring, no light, no perspective, nothing other than the visible clue of the sentiments I am trying to express... I would draw your attention to a song of colours, which will bring out for others the joyful sensations and feelings inspired in me on those summer days when I found myself somewhere in the country near the Italian border, where there was a spring in a wonderful garden. A photograph of that spring and that garden would in now way look like my painting 'Dance at a spring' I was shown for the first time at the w:Salon d'Automne in Paris in 1912.”

Francis Picabia (1879–1953) French painter and writer

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 200
1920's

Way, Feeling, Spring, Light

“A teacher?”
“Yes. He argued that we are the gods, that we create our own destiny. That what we are determines what will become of us. In a peasantlike vernacular, we all paint ourselves into corners from which here is no escape simply by being ourselves and interacting with other selves.”
“Interesting.”
“Well. Yes. There is god of sorts, Croaker. Do you know? Not a mover and shaker, though. Simply a negator. An ender of tales. He has a hunger that cannot be sated. The universe itself will slide down his maw.”
“Death?”
“I do not want to die, Croaker. All that I am shrieks against the unrighteousness of death. All that I am, was, and probably will be, is shaped by my passion to evade the end of me.” She laughed quietly, but there was a thread of hysteria there. She gestured, indicating the shadowed killing ground below. “I would have built a world in which I was safe. And the cornerstone of my citadel would have been death.”
The end of the dream was drawing close. I could not imagine a world without me in it, either. And the inner me was outraged. Is outraged. I have no trouble imagining someone becoming obsessed with escaping death.
“I understand.”

Glen Cook book The White Rose

“Maybe. We’re all equals at the dark gate, no? The sands run for us all. Life is but a flicker shouting into the jaws of eternity. But it seems so damned unfair!”
Source: The White Rose (1985), Chapter 39, “A Guest at Charm” (p. 625)

Life, Death, Hunger, God

“Mathematics is the fruitful Parent of, I had almost said all, Arts, the unshaken Foundation of Sciences, and the plentiful Fountain of Advantage to Human Affairs. In which last Respect, we may be said to receive from the Mathematics, the principal Delights of Life, Securities of Health, Increase of Fortune, and Conveniences of Labour: That we dwell elegantly and commodiously, build decent Houses for ourselves, erect stately Temples to God, and leave wonderful Monuments to Posterity: That we are protected by those Rampires from the Incursions of the Enemy; rightly use Arms, skillfully range an Army, and manage War by Art, and not by the Madness of wild Beasts: That we have safe Traffick through the deceitful Billows, pass in a direct Road through the tractless Ways of the Sea, and come to the designed Ports by the uncertain Impulse of the Winds: That we rightly cast up our Accounts, do Business expeditiously, dispose, tabulate, and calculate scattered 248 Ranks of Numbers, and easily compute them, though expressive of huge Heaps of Sand, nay immense Hills of Atoms: That we make pacifick Separations of the Bounds of Lands, examine the Moments of Weights in an equal Balance, and distribute every one his own by a just Measure: That with a light Touch we thrust forward vast Bodies which way we will, and stop a huge Resistance with a very small Force: That we accurately delineate the Face of this Earthly Orb, and subject the Oeconomy of the Universe to our Sight: That we aptly digest the flowing Series of Time, distinguish what is acted by due Intervals, rightly account and discern the various Returns of the Seasons, the stated Periods of Years and Months, the alternate Increments of Days and Nights, the doubtful Limits of Light and Shadow, and the exact Differences of Hours and Minutes: That we derive the subtle Virtue of the Solar Rays to our Uses, infinitely extend the Sphere of Sight, enlarge the near Appearances of Things, bring to Hand Things remote, discover Things hidden, search Nature out of her Concealments, and unfold her dark Mysteries: That we delight our Eyes with beautiful Images, cunningly imitate the Devices and portray the Works of Nature; imitate did I say? nay excel, while we form to ourselves Things not in being, exhibit Things absent, and represent Things past: That we recreate our Minds and delight our Ears with melodious Sounds, attemperate the inconstant Undulations of the Air to musical Tunes, add a pleasant Voice to a sapless Log and draw a sweet Eloquence from a rigid Metal; celebrate our Maker with an harmonious Praise, and not unaptly imitate the blessed Choirs of Heaven: That we approach and examine the inaccessible Seats of the Clouds, the distant Tracts of Land, unfrequented Paths of the Sea; lofty Tops of the Mountains, low Bottoms of the Valleys, and deep Gulphs of the Ocean: That in Heart we advance to the Saints themselves above, yea draw them to us, scale the etherial Towers, freely range through the celestial Fields, measure the Magnitudes, and determine the Interstices of the Stars, prescribe inviolable Laws to the Heavens themselves, and confine the wandering Circuits of the Stars within fixed Bounds: Lastly, that we comprehend the vast Fabrick of the Universe, admire and contemplate the wonderful Beauty of the Divine 249 Workmanship, and to learn the incredible Force and Sagacity of our own Minds, by certain Experiments, and to acknowledge the Blessings of Heaven with pious Affection.”

Isaac Barrow (1630–1677) English Christian theologian, and mathematician

Source: Mathematical Lectures (1734), p. 27-30

Life, God, War, Health

“The Will of God, which is free - indeed freedom When in the inmost Being the Soul follows the Divine drawing and gives itself up freely to the Spirit of God, it tastes infinite happiness impossible to comprehend, in which the whole being dissolves itself - takes from us the spirit of fear and makes us free, disengaged from and emptied of self, and of every fear that might oppress us in time or eternity.”

John Ruysbroeck (1293–1381) Flemish mystic

Source: The Seven Steps of the Ladder of Spiritual Love, p. 72

God, Happiness, Fear, Soul

“Seek for a fresh invoice of grace. Unbelief can scoff or growl; faith is the nightingale that sings in the darkest hour. Faith can draw honey out of the rock and oil out of the flint. With Christ in possession and heaven in reversion, it marches to the time of the One-hundred-and-third Psalm over the roughest road, and against the most cutting blast.”

Theodore L. Cuyler (1822–1909) American minister

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 236.

Faith, Singing, Time, Christ

“Our so-called Society people, instead of going in for sport, persist in holding conversations in their drawing rooms, generally in a foreign tongue. They engage nurse maids, personal maids and governesses of all nationalities except Italian. They play poker and bridge with the accompanying drinks, certainly not Italian brands!”

Achille Starace (1889–1945) Italian Fascist general

About disloyal people in Italian society. Quoted in "Activist on Society" - Time Magazine - August 5, 1935.

People, Drink, Sport, Drawing

“Presently they saw their Mother coming out of the drawing-room with a visitor following her. Jane and Michael could see that the newcomer had shiny black hair — "Rather like a wooden Dutch doll," whispered Jane. And that she was thin, with large feet and hands, and small, rather peering blue-eyes.
"You'll find that they are very nice children," Mrs. Banks was saying.
Michael's elbow gave a sharp dig at Jane's ribs.
"And that they give no trouble at all," continued Mrs. Banks uncertainly, as if she herself didn't really believe what she was saying. They heard the visitor sniff as though she didn't either.
"Now, about reference —" Mrs. Banks went on.
"Oh, I make it a rule never to give references," said the other firmly.”

P. L. Travers (1899–1996) Australian-British novelist, actress and journalist

Source: Mary Poppins (1934), Ch. 1 "East-Wind"

Children, Drawing

“We find statements by religious, polital leaders and the media that incite Islamophobia. I'm going to give you some, otherwise we wind up talking in very true but general statements. And I think we need to hear the actual words, because these are the words that people, who are in churches, people who are watching the media, hear. And if they don't have a context within which to place them, they will draw us out of conclusions. While George Bush and Tony Blair may distinguish between Islam and extremism, Franklin Graham tells us that "Islam is a very evil religion. All the values that we as a nation hold dear, they don't share those same values at all … these countries that have the majority of Muslims." You might think of Franklin Graham as an individual, but if you are in the Muslim world, you know that Franklin Graham gave the invocation at the first inauguration of president Bush, that Franklin Graham a year and a half later was asked to speak on Good Friday at the Pentagon. That sends a signal. Pat Robertson: "This man [Muhammad] was an absolute wild-eyed fanatic, he was a robber and a brigand. And to say that these terrorists distort Islam … they are carrying out Islam. I mean: This man [Muhammed] was a killer and to think that this is a peaceful religion is fraudulent." Benny Hinn at a pro-Israel rally: "This not a war between Arabs and the Jews, this is between God and the devil."”

John Esposito (1940) writer and professor of Islamic studies

And there are many others.
Speech at the UN seminar on Islamophobia in 2004

God, War, People, World

“How often is it a phantom woman who draws the man from the way he meant to go? So was man created, to hunger for the ideal that is above himself, until one day there is magic in the air, and the eyes of a girl rest upon him. He does not know that it is he himself who crowned her, and if the girl is as pure as he, their love is the one form of idolatry that is not quite ignoble. It is the joining of two souls on their way to God. But if the woman be bad, the test of the man is when he wakens from his dream. The nobler his ideal, the further will he have been hurried down the wrong way, for those who only run after little things will not go far. His love may now sink into passion, perhaps only to stain its wings and rise again, perhaps to drown.”

J. M. Barrie (1860–1937) Scottish writer

Source: The Little Minister (1891), Ch. 1 : The Love-Light

Love, Hunger, God, Dreams

“The Sultan himself joined in the pursuit, and went after them as far as the fort called Bhimnagar [Nagarkot, modern Kangra], which is very strong, situated on the promontory of a lofty hill, in the midst of impassable waters. The kings of Hind, the chiefs of that country, and rich devotees, used to amass their treasures and precious jewels, and send them time after time to be presented to the large idol that they might receive a reward for their good deeds and draw near to their God. So the Sultan advanced near to this crow's fruit, ^ and this accumulation of years, which had attained such an amount that the backs of camels would not carry it, nor vessels contain it, nor writers hands record it, nor the imagination of an arithmetician conceive it. The Sultan brought his forces under the fort and surrounded it, and prepared to attack the garrison vigorously, boldly, and wisely. When the defenders saw the hills covered with the armies of plunderers, and the arrows ascending towards them like flaming sparks of fire, great fear came upon them, and, calling out for mercy, they opened the gates, and fell on the earth, like sparrows before a hawk, or rain before lightning. Thus did God grant an easy conquest of this fort to the Sultan, and bestowed on him as plunder the products of mines and seas, the ornaments of heads and breasts, to his heart's content. … After this he returned to Ghazna in triumph; and, on his arrival there, he ordered the court-yard of his palace to be covered with a carpet, on which he displayed jewels and unbored pearls and rubies, shining like sparks, or like wine congealed with ice, and emeralds like fresh sprigs of myrtle, and diamonds in size and weight like pomegranates. Then ambassadors from foreign countries, including the envoy from Tagh^n Khan, king of Turkistin, assembled to see the wealth which they had never yet even read of in books of the ancients, and which had never been accumulated by kings of Persia or of Rum, or even by Karun, who had only to express a wish and Grod granted it.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

About the capture of Bhimnagar, Tarikh Yamini (Kitabu-l Yamini) by Al Utbi, in Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. p. 34-35 Also quoted in Jain, Meenakshi (2011). The India they saw: Foreign accounts.
Quotes (971 CE to 1013 CE)

God, Books, Fear, Imagination

“I have such a passion for painting! I am continually working at form. In actual drawing and in my head, and during my sleep. Sometimes I think I shall go mad, this painful, sensual pleasures tires and torments me so much. Everything else vanishes, time and space, and I think of nothing but how to paint the head of the resurrected Christ... Or how shall I paint Minkchen [his wife Minna] now, with her knees drawn up and her head leaning on her hand against the yellow wall with her rose, or the sparkling light in the dazzling whiteness of the anti-aircraft shell-bursts in the leaden, sun drenched sky…”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

letter to his first wife Minna, from the front, 11 May, 1915; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 213
1900s - 1920s

Pain, Pleasure, Thinking, Sleep

“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

“He has spent all his life in letting down empty buckets into empty wells; and he is frittering away his age in trying to draw them up again.”

Sydney Smith (1771–1845) English writer and clergyman

Vol. I, ch. 9
Lady Holland's Memoir (1855)

Life, Age, Drawing

“When I left your Excellency at Haverstraw, you desired me to go forward and reconnoitre the country, and fix upon some proper position to draw the troops together at, I was a stranger to all this part of the country, and could form no judgment of a proper place, until I had thoroughly examined the ground.”

Nathanael Greene (1742–1786) American general in the American Revolutionary War

Letter to George Washington (July 1778)

Parting, Drawing, Country

“The mind petrifies if a circle be drawn around it, and it can hardly be denied that dogma draws a circle round the mind.”

George Moore (novelist) (1852–1933) Irish novelist, short-story writer, poet, art critic, memoirist and dramatist

Hail and Farewell (1912), vol. 2: Salve, Kessinger Publishing, 2005, ISBN 1-417-93272-4, ch. XV (p. 36).

Drawing

“The soul seeks God by faith, not by the reasonings of the mind and labored efforts, but by the drawings of love; to which inclinations God responds, and instructs the soul, which co-operates actively. God then puts the soul in a passive state where He accomplishes all, causing great progress, first by way of enjoyment, then by privation, and finally by pure love.”

Jeanne Marie Bouvier de la Motte Guyon (1648–1717) French mystic

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 240.

Love, God, Faith, Way

“Thus the word reveals the Divine Essence; His incarnation makes that Life, that Love, that Light, which is eternally resident in God obvious to souls that steadily contemplate Himself. These terms Life, Love, Light — so abstract, so simple, so suggestive — meet in God; but they meet also in Jesus Christ. They do not only make Him the centre of a philosophy; they belong to the mystic language of faith more truly than to the abstract terminalogy of speculative thought. They draw hearts to Jesus; they invest Him with a higher than any intellectual beauty.”

Henry Liddon (1829–1890) British theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 91.

Love, Life, God, Faith

“I was sitting in the barn, drawing a dead bird which I had put on a box. Then the barn door opened and Kees entered [an old iron-merchant, already retired].... He came down next to me.... After a short silence he said: 'Are you painting? '.... it looks somewhat like that bird'. I said: 'To me that means a compliment Kees, because I am trying to draw that bird.' Stunned, he looked at me and asked, "Why are you doing that?" What could I answer? I said: Actually, I don't know myself'. Then he hoisted himself to his feet and said, I'll bring you the stuff next Monday' and he went to the door..”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: ** Ik zat in de schuur en tekende een dode vogel, die ik op een kistje had neergelegd. Toen ging de schuurdeur open en kwam Kees binnen [een oud ijzerkoopman, al met pensioen].. ..Hij ging op zijn hurken naast me zitten.. ..Toen zei hij, na een korte stilte: 'Ben je aan het schilderen?'.. .. 'Het lijkt wel wat op die vogel'. Ik zei: 'Dat is voor mij een compliment, Kees, want die vogel probeer ik na te tekenen.' Stomverbaasd keek hij me aan en vroeg: 'Waarom doe je dat?' Wat moest ik daar nu op antwoorden? Ik zei: 'Ja, dat weet ik eigenlijk zelf ook niet'. Toen hees hij zichzelf overeind en zei 'Ik breng de rommel maandag wel bij je.' Hij liep naar de deur..
Source: Jopie de Verteller' (2010) - postumous, p. 27

Bird, Silence, Drawing, Painting

“The zealous care with which J. M. W. Turner endeavoured to do his duty, is proved by a large existing series of drawings, exquisitely tinted, and often completely coloured, all by his own hand, of the most difficult perspective subjects—illustrating not only directions of line, but effects of light - with a care and completion which would put the work of any ordinary teacher to utter shame. In teaching generally — he would neither waste time nor spare it - he would look over a student's drawing at the Academy, point to a defective part, make a scratch on the paper at the side, say nothing. If the student saw what was wanted, and did it, Turner was delighted; but if the student could not follow. Turner left him.”

John Ruskin (1819–1900) English writer and art critic

Quote, c. 1850's; describing Turner's perspective lectures; as quoted in The life of J.M.W. Turner, Volume II, George Walter Thornbury; Hurst and Blackett Publishers, London, 1862, p. 108

Light, Teachers, Time, Parting

“These burdens and frustrations are accepted by most Americans with maturity and understanding. They may long for the days when war meant charging up San Juan Hill-or when our isolation was guarded by two oceans — or when the atomic bomb was ours alone — or when much of the industrialized world depended upon our resources and our aid. But they now know that those days are gone — and that gone with them are the old policies and the old complacency's. And they know, too, that we must make the best of our new problems and our new opportunities, whatever the risk and the cost.
But there are others who cannot bear the burden of a long twilight struggle. They lack confidence in our long-run capacity to survive and succeed. Hating communism, yet they see communism in the long run, perhaps, as the wave of the future. And they want some quick and easy and final and cheap solution — now.
There are two groups of these frustrated citizens, far apart in their views yet very much alike in their approach. On the one hand are those who urge upon us what I regard to be the pathway of surrender-appeasing our enemies, compromising our commitments, purchasing peace at any price, disavowing our arms, our friends, our obligations. If their view had prevailed, the world of free choice would be smaller today.
On the other hand are those who urge upon us what I regard to be the pathway of war: equating negotiations with appeasement and substituting rigidity for firmness. If their view had prevailed, we would be at war today, and in more than one place.
It is a curious fact that each of these extreme opposites resembles the other. Each believes that we have only two choices: appeasement or war, suicide or surrender, humiliation or holocaust, to be either Red or dead. Each side sees only "hard" and "soft" nations, hard and soft policies, hard and soft men. Each believes that any departure from its own course inevitably leads to the other: one group believes that any peaceful solution means appeasement; the other believes that any arms build-up means war. One group regards everyone else as warmongers, the other regards everyone else as appeasers. Neither side admits that its path will lead to disaster — but neither can tell us how or where to draw the line once we descend the slippery slopes of appeasement or constant intervention.
In short, while both extremes profess to be the true realists of our time, neither could be more unrealistic. While both claim to be doing the nation a service, they could do it no greater disservice. This kind of talk and easy solutions to difficult problems, if believed, could inspire a lack of confidence among our people when they must all — above all else — be united in recognizing the long and difficult days that lie ahead. It could inspire uncertainty among our allies when above all else they must be confident in us. And even more dangerously, it could, if believed, inspire doubt among our adversaries when they must above all be convinced that we will defend our vital interests.
The essential fact that both of these groups fail to grasp is that diplomacy and defense are not substitutes for one another. Either alone would fail. A willingness to resist force, unaccompanied by a willingness to talk, could provoke belligerence — while a willingness to talk, unaccompanied by a willingness to resist force, could invite disaster.”

John F. Kennedy (1917–1963) 35th president of the United States of America

1961, Address at the University of Washington

Men, Hate, War, People

“Mother is the best bet and don't let Satan draw you too fast.”

Dutch Schultz (1902–1935) American mobster

From police transcripts of incoherent deathbed confession

Drawing

“One challenge is to agree on minimum criteria of good governance that are not perceived as a threat to cultural traditions and to draw on moral concepts that are indigenous to specific cultural settings. {{fix cite}”

Nayef Al-Rodhan (1959) philosopher, neuroscientist, geostrategist, and author

Sustainable History and the Dignity of Man (2009)

Drawing

“Brer Rabbit keep on axin' 'im, en de Tar-Baby, she keep on sayin' nothin', twel present'y Brer Rabbit draw back wid his fis', he did, en blip he tuck 'er side er de head. Right dar's whar he broke his merlasses jug. His fis' stuck, en he can't pull loose. De tar hilt 'im.”

Joel Chandler Harris (1848–1908) Journalist, children's writer

Legends of the old Plantation (1886), "The Wonderful Tar-Baby Story".

Baby, Drawing

“There was a young man with a salary,
Who had to do drawings for Malory;
When they asked him for more,
He replied, 'Why? Sure
You've enough as it is for a gallery.”

Aubrey Beardsley (1872–1898) English illustrator and author

On illustrating Le Mort d'Arthur (1893), as quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 155

Drawing

“I have watched the French Emperor narrowly, and have studied his character and conduct. You may rely upon it that, at the bottom of his heart, there rankles a deep and inextinguishable desire to humble and punish England, and to avenge, if he can, the many humiliations — political, naval and military — which, since the beginning of this century, England has by herself and her allies inflicted upon France. He has sufficiently organised his military means; he is now stealthily but steadily organising his naval means; and when all is ready, the overture will be played, the curtain will draw up, and we shall have a very disagreeable melodrama.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Letter to the Duke of Somerset (23 June 1861), quoted in Lord Dalling, Life of Palmerston: Volume II, p. 391.
1860s

Study, Heart, Drawing

“While the versions of totalitarianism represented by Nazism and Fascism consolidated power by suppressing liberal political practices that had sunk only shallow cultural roots, Superpower represents a drive towards totality that draws from the setting where liberalism and democracy have been established for more than two centuries. It is Nazism turned upside-down, “inverted totalitarianism.” While it is a system that aspires to totality, it is driven by an ideology of the cost-effective rather than of a “master race” (Herrenvolk), by the material rather than the “ideal.””

Sheldon S. Wolin (1922–2015) American political philosopher

Sheldon Wolin, Politics and Vision: Continuity and Innovation in Western Political Thought (1960, revised 2004), p. 591

Democracy, Drawing

“His strange appearance made the people turn round, and this led Alexander to look at him. In astonishment he gave orders to make way for him to draw near, and asked who he was. "Dinocrates," quoth he, "a Macedonian architect, who brings thee ideas and designs worthy of thy renown. I have made a design for the shaping of Mount Athos into the statue of a man, in whose left hand I have represented a very spacious fortified city, and in his right a bowl to receive the water of all the streams which are in that mountain, so that it may pour from the bowl into the sea."”

Vitruvius book De architectura

Introduction, Sec. 2
De architectura (The Ten Books On Architecture) (~ 15BC), Book II

People, Way, Mountain, Idea

“Human beings have faculties more elevated than the animal appetites, and when once made conscious of them, do not regard anything as happiness which does not include their gratification. I do not, indeed, consider the Epicureans to have been by any means faultless in drawing out their scheme of consequences from the utilitarian principle. To do this in any sufficient manner, many Stoic, as well as Christian elements require to be included. But there is no known Epicurean theory of life which does not assign to the pleasures of the intellect, of the feelings and imagination, and of the moral sentiments, a much higher value as pleasures than to those of mere sensation.”

John Stuart Mill book Utilitarianism

Source: Utilitarianism (1861), Ch. 2

Life, Happiness, Pleasure, Feeling

“The gospel of St. Matthew told of the angry Jesus driving the merchants and money-changers out of the temple, knocking over the tables of the money-changers and spilling their coins on the floor. Jesus was not opposed to capitalism and the profit motive, so long as economic activities were carried on outside the temple. In the parable of the talents, he praises the servant who used his master's money to make a profitable investment, and condemns the servant who was too timid to invest. But he draws a clear line at the temple door. Inside the temple, the ground belongs to God and profit-making must stop.”

Freeman Dyson (1923) theoretical physicist and mathematician

Progress In Religion (2000)

Money, God, Motivation, Drawing

“̆̽The argument of the social theory developed in this book [works] out the idea that each imaginative and institutional form of society represents an attempt to freeze, into a particular mold, the more fluid experiences of practical and passionate relationship characterizing the immediate, relatively unreflective, uninterpreted, and undisciplined life of personality. The dogmas and arrangements inform this life and alter it. But they do not completely overcome its recalcitrance or determine its inner nature. The visionary impulse in politics draws much of its persuasive force from the appeal to this defiant experience.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: False Necessityː Anti-Necessitarian Social Theory in the Service of Radical Democracy (1987), p. 467

Life, Books, Imagination, Idea

“Apart from the greatness of Bizos for his role in the dismantling of apartheid, defending Mandela etc, he also manifested a genius in his role as a leading member of the conservative South African Greek community, by drawing historical parallels between the 400 years of slavery that Greece had suffered under the Ottoman Turks and the 300 years or so of repression and cruelty suffered by the Southern African black tribes and mixed race people under the British and then under the Nationalist Afrikaner rule. By using this strategy Bizos was able to balance his fight for justice in South Africa, and synchronously lead the very conservative Greek community in a more progressive direction.”

Angelique Rockas South African actress and founder of Internationalist Theatre, London

On George Bizos
Interview on Helenism .net (September 2011)

People, Justice, Communication, Suffering

“Pricasso had a long line of people waiting to pay him to paint with his penis. The former builder said he had always been talented at drawing but five years ago came up with the idea of creating art with a different type of implement.”

Pricasso (1949) Australian painter

[Ellen Lutton, Sexpo draws crowds... and then they're painted, The Sun-Herald, Sydney, Australia, 7 March 2010, 25, Fairfax Media Publications Pty Limited.]
About

People, Art, Idea, Waiting

“[Boulding's belief in] the immediate experience of the Holy Spirit, or Inward Light, available to every man to teach, guide, reprove, and draw him up toward goodness.”

Kenneth E. Boulding (1910–1993) British-American economist

Source: 1950s, The Organizational Revolution: A study in the ethics of economic organization, 1953, p. 253. cited in: D.A. Latzko (1995) " Kenneth E. Boulding (18 January 1910-19 March 1993) http://www.personal.psu.edu/~dxl31/research/otherstuff/boulding.html" in: Proceedings of the American Philosophical Society.

Light, Drawing

“I think the Linux phenomenon is quite delightful, because it draws so strongly on the basis that Unix provided. Linux seems to be the among the healthiest of the direct Unix derivatives, though there are also the various BSD systems as well as the more official offerings from the workstation and mainframe manufacturers.”

Dennis M. Ritchie (1941–2011) American computer scientist

Interview With Dennis M. Ritchie, 1999, LinuxFocus.org http://www.linuxfocus.org/English/July1999/article79.html,. On Unix and Unix-like systems (1999)

Thinking, Drawing

“Some fundamental unity was surely to be discerned either in the matter or the structure of things. The Ionic philosophers chose the former field: Pythagoras took the latter. …The geometry which he had learnt in Egypt was merely practical. …It was natural to nascent philosophy to draw, by false analogies, and the use of a brief and deceptive vocabulary, enormous conclusions from a very few observed facts: and it is not surprising if Pythagoras, having learnt in Egypt that number was essential to the exact description of forms and of the relations of forms, concluded that number was the cause of form and so of every other quality. Number, he inferred, is quantity and quantity is form and form is quality.
Footnote2 Primitive men, on seeing a new thing, look out especially for some resemblance in it to a known thing, so that they may call both by the same name. This developes a habit of pressing small and partial analogies. It also causes many meanings to be at attached to the same word. Hasty and confused theories are the inevitable result.”

James Gow (scholar) (1854–1923) scholar

A Short History of Greek Mathematics (1884)

Men, Nature, Drawing, Falseness

“I began to draw from plant life and found the flat leaf forms were easier to do than thighs and breasts. I wanted to flatten. The plant drawings from that time until now have always been linear. They are exact observations of the form of the leaf or flower of fruit seen. Nothing is changed or added, no surface marking. They are not an approximation of the thing seen nor are they a personal expression or an abstraction. They are an impersonal observation of the form. When I applied the procedure to other things such as the vaulting of Notre Dame [church in Paris] or a patch of tar on the road, the subject of the drawings and the subsequent paintings were not recognizable even though they were exact copies of the thing seen. I wanted to use things that had no pictorial use.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 25-26 : 'Notes from 1969'

Life, Flowers, Change, Time

“I realized I had, unbeknownst to me, signed an invisible contract which required me to enter into a strange new echelon of society. People suddenly wanted to take pictures of me on the street. Journalists were interested in the kind of socks I preferred. … It was an atmosphere from which I instantly wanted to retreat. I detested the superficial elevation and commodification of it all, juxtaposed with the grotesque self-involvement it would sometimes draw out in me. Being a faceless member of a mob, I soon realized, is far more comforting than teetering on a brittle pedestal one inch off the ground. The exclusion and subtle differentiation that comes with even the rather diluted form of celebrity that I have embarrasses me.”

Jack Gleeson (1992) Irish actor

Speech at Oxford Union (2014)

People, Drawing

“To think profoundly, to seek and speak truth, to love justice and denounce wrong is to draw upon one’s self the ill will of many.”

John Lancaster Spalding (1840–1916) Catholic bishop

Source: Aphorisms and Reflections (1901), p. 230

Love, Truth, Justice, Thinking

“We are indeed living at the end of the Golden Age of Mankind, or at least the end of this particular human civilization. That almost everything we take for granted today may, only a couple of decades farther along, seem entirely remarkable, that our most mundane artefacts and toys will stand as incredible examples of luxury and excess. That all of this will pass away, and the "simplest" bits of our day-to-day lives will become miracles of a half-remembered past. A past which will be responsible for that future-present misery. It is difficult to force myself through the trivial routine of my days when these thoughts are front and center. It is difficult to see beyond the veil they draw up about me and difficult to push it all aside long enough to write my silly little stories.”

Caitlín R. Kiernan (1964) writer

29 March 2007
Unfit for Mass Consumption (blog entries), 2007

Age, Past, Future, Drawing

“After all, the leaders of our country were not elected to be tittered at. Censors have to draw the line somewhere. For instance, we are allowed to say Ronald Reagan is a lousy actor, but we're not allowed to say he's a lousy governor – which is ridiculous. We know he's a good actor. And you can't say anything bad about President Johnston [sic], because you shouldn't insult the President. But if you compliment him, who will believe it?”

Pat Paulsen (1927–1997) United States Marine

"An Editorial: Should TV Be Censored?", The Smothers Brothers Comedy Hour, unidentified episode Featured in Pat Paulsen for President (1968), part 2 of 6 http://www.youtube.com/watch?v=KbP0ufyax5A&feature=relmfu, 05:01 ff (14:01 ff in full program) Alternative version archived at "Should Television Shows Be Censored?" http://www.paulsen.com/censor.html, Paulsen.com, January 7, 1968

Drawing, Country

“Go to Dahomey, Ashantee, Caffraria, Malaisia, — anywhere; search out the rudest people on earth; draw a picture of its vices and cruelties, make it as black as you can, and we will parallel it by pictures of Greece under Pericles and of Rome under Cicero.”

Edward Thomson (1810–1870) American bishop

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 135.

People, Search, Drawing

“To anyone who is not an artist it must seem rather strange that Degas who could do anything — for whom setting down what he saw presented no difficulties at all — should have continued to draw the same poses year after year — often, it would seem, with increasing difficulty. Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs, it was one of the things that gave him so much sympathy with dancers. He was continually struggling to achieve an idea of perfect form, but this did not prevent him looking for the truth in what might seem an artificial situation.”

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

Source: The Romantic Rebellion (1973), Ch. 13: Degas

Truth, Idea, Drawing, Perfection

“Because there are no truths that can be taken possession of without a struggle, and because all knowledge must choose a place in the configuration of hegemonic and oppositional forces, the means of establishing knowledge seem to be almost more important than the knowledge itself. … The demand to universalize the rational draws it into the vortex of politics, pedagogy, and propaganda. With this, enlightenment consciously represses the harsh realism of older precepts of wisdom, for which there was no question that the masses are foolish and that reason is to be found only among the few. Modern elitism has to encode itself democratically.”

Peter Sloterdijk (1947) German philosopher

Source: Kritik der zynischen Vernunft [Critique of Cynical Reason] (1983), p. 11

Wisdom, Truth, Question, Knowledge

“We are always repeating ancestral signs which are quite useless now. When a great actress wants to express hate she draws back her charming lips and shows her canine teeth, an unconscious sign of cannibalism. We shake hands with a friend to prevent him using it to strike us, and we take off our hats because our ancestors used to humbly offer their heads, to the bigwigs of those days, to be cut off.”

André Maurois (1885–1967) French writer

Les silences du colonel Bramble (The Silence of Colonel Bramble)

Hate, Drawing

“Listen what happened to me when I was in the fifth form (ca. 1904), in the drawing lesson. An old-timer in the front row, the one who pinched me the most often, suddenly showed me a sketch on tissue paper, copied from the magazine "Niva": The Smoker. In this pandemonium! Leave me alone. I don't remember very well but this drawing, done not by me but by that fathead, immediately threw me into a rage. It roused a hyena in me. I ran to the library, grabbed that big volume of "Niva" and began to copy the portrait of the composer Rubinstein, fascinated by his crow's-feet and his wrinkles, or by a Greek woman and other illustrations; maybe I improvised some too, I hung them all up in my bedroom..”

Marc Chagall (1887–1985) French artist and painter

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 24-25
1920's, My life (1922)

Rage, Drawing

“Nasreddin Khodja commanded his disciples, when he sneezed, to salute him by clapping their hands and crying out: "Haïr Ollah, Khodja," that is "Prosperity to thee, O Master!" Now it came to pass that on one of the days the bucket fell into the well […] he descended, caught the bucket, and the boys were already pulling him up, when, just as he was drawing near the edge of the well, he chanced to sneeze. Whereupon they, mindful of the master's behest, let go the rope and, clapping their hands in high glee, cried out in chorus: "Haïr Ollah, Khodja," Nasreddin was precipitated violently into the well, bruising himself against the sides. […] "Well, boys, it was not your fault, but mine: too much honour is no good thing for man."”

Nasreddin (1208–1284) philosopher, Sufi and wise man from Turkey, remembered for his funny stories and anecdotes

George Frederick Abbott, Macedonian Folklore (1903: Cambridge University Press), p. 114

Boy, Chance, Drawing, Cry

“When I am in that darkness I do not remember anything about anything human, or the God-man, or anything which has a form. Nevertheless, I see all and I see nothing. As what I have spoken of withdraws and stays with me, I see the God-man. He draws my soul with great gentleness and he sometimes says to me: "You are I and I am you." I see, then, those eyes and that face so gracious and attractive as he leans to embrace me. In short, what proceeds from those eyes and that face is what I said that I saw in that previous darkness which comes from within, and which delights me so that I can say nothing about it. When I am in the God-man my soul is alive. And I am in the God-man much more than in the other vision of seeing God with darkness. The soul is alive in that vision concerning the God-man. The vision with darkness, however, draws me so much more that there is no comparison. On the other hand, I am in the God-man almost continually. It began in this continual fashion on a certain occasion when I was given the assurance that there was no intermediary between God and myself. Since that time there has not been a day or a night in which I did not continually experience this joy of the humanity of Christ.”

Angela of Foligno (1248–1309) Italian saint

Source: The Memorial and Instructions, p. 205

God, Soul, Fashion, Time

“As Norman McLaren said, animation is not a bunch of drawings that move — it's a bunch of drawings of movement.”

Chuck Jones (1912–2002) American animator, cartoon artist, screenwriter, producer, and director of animated films

Lewell, "The Art of Chuck Jones", 137.

Animals, Drawing

“Draw all kind of everyday object placed, in such a way that they have in them the life of the man or woman – corsets that have just been removed, for example, and which retain the form of the body. Do a series in aquatint on mourning, different blacks – black veils of deep mourning floating on the face – black gloves – mourning carriages, undertaker’s vehicles – carriages like Venetian gondolas. On smoke – smoker’s smoke, pipes, cigarettes, cigars – smoke from locomotives, from tall factory chimneys, from steam boats, etc. On evening – infinite variety of subjects in cafes, different tones of glass robes reflected in the mirrors. On bakery, bread. Series of baker's boys, seen in the cellar itself or through the basement windows from the street – backs the colour of the pink flour – beautiful curves of dough – still-life's of different breads, large, oval, long, round, etc. Studies in color of the yellows, pinks, grays, whites of bread…… Neither monuments nor houses have ever been done from below, close up as they appear when you walk down the street. [a working note in which Degas planned series of views of modern Paris, the same time when he sketched the backstreet brothels, making graphic unflinching and even his realistic 'pornographic' sketches he called his 'glimpses through the keyhole', in which he also experimented with perspectives]”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebooks; Clarendon Press, Oxford 1976, nos 30 & 34 circa 1877; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 182
quotes, undated

Life, Beauty, Color, Way

“Two main lines are readily distinguished. One already well developed in the hands of von Bertalanffy and his co-workers, takes the world as we find it, examines the various systems that occur in it - zoological, physiological, and so on - and then draws up statements about the regularities that have been observed to hold. This method is essentially empirical. The second method is to start at the other end. Instead of studying first one system, then a second, then a third, and so on, it goes to the other extreme, considers the set of all conceivable systems and then reduces the set to a more reasonable size. This is the method I have recently followed.”

W. Ross Ashby (1903–1972) British psychiatrist

Ashby (1958) "General Systems Theory as a new Discipline". General Systems, 3 (1958). p. 1-6; cited in: Ludwig von Bertalanffy (1968) General System Theory. p. 94-95

World, Study, Drawing

“Believe me, I work, I drudge, I grind all day long and I do so with pleasure, but I should get very much discouraged if I could not go on working as hard or even harder... I feel, Theo, that there is a power within me, and I do what I can to bring it out and free it. It is hard enough, all the worry and bother with my drawings, and if I had too many other cares and could not pay the models I should lose my head.”

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

quote in his letter to brother Theo, from The Hague, The Netherlands in Jan. 1882; as quoted in Vincent van Gogh, Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, p. 20 (letter 171) 1880s, 1882

Pleasure, Feeling, Drawing

“I’m not interested in truths, like drawing an accurate picture of the real world. I’m interested in exploring the verities of the human condition.”

Jim Crace (1946) English novelist, short story writer and playwright

"What Is This Thing Called Bronze?" http://query.nytimes.com/gst/fullpage.html?res=950DE0DA103AF935A25754C0A96F948260&sec=&spon=&pagewanted=2, interview with Robin Pogrebin, The New York Times (1989-07-16)

Truth, World, Drawing

“The 1960s revolutions against racism, sexism and classism nearly missed out the animals. This worried me. Ethics and politics at the time simply overlooked the nonhumans entirely. Everyone seemed to be just preoccupied with reducing the prejudices against humans. Hadn’t they heard of Darwin? I hated racism, sexism and classism, too, but why stop there? As a hospital scientist I believed that hundreds of other species of animals suffer fear, pain and distress much as I did. Something had to be done about it. We needed to draw the parallel between the plight of the other species and our own. One day in 1970, lying in my bath at the old Sunningwell Manor, near Oxford, it suddenly came to me: SPECIESISM!”

Richard D. Ryder (1940) British psychologist

" Speciesism Again: The Original Leaflet http://www.veganzetta.org/wp-content/uploads/2013/02/Speciesism-Again-the-original-leaflet-Richard-Ryder.pdf", in Critical Society, Issue 2, Spring 2010.

Pain, Hate, Fear, Lying

“If you mean Mr. Weston to be one of your victims," said I, with affected indifference, "you will have to make such overtures yourself that you will find it difficult to draw back when he asks you to fulfil the expectations you have raised.”

Anne Brontë book Agnes Grey

Source: Agnes Grey (1847), Ch. XVI : The Substitution

Drawing, Indifference

“Every time I perform, I work really hard to give part of myself to the audience. Then I do an interview and I read some story that just isn't true, or someone draws a crazy conclusion about my life, and it's such a betrayal. It hasn't happened here, but in Croatia, I've had to stop reading about myself. I don't think actors mean to be secretive - they just don't want strangers looking through their kitchen window.”

Goran Višnjić (1972) Croatian actor

Goran Visnjic on why he doesn't give many interviews.

Life, Secret, Thinking, Betrayal

“Paris, 30-7-1843, h. Daumier - I, the undersigned, Honoré Daumier declare to reduce the price of my drawings in lithography, to forty francs the drawing with the condition
1st, that the first 11 stones which I will deliver to 'Charivari' will be paid to me at the old price, that is, fifty francs each.
2° that this reduction will be made to me as long as M Dutacy remains attached to the...'Charivari'; this having been made for the sole purpose of being agreeable to him.”

Honoré Daumier (1808–1879) French printmaker, caricaturist, painter, and sculptor

Quote in a handwritten letter, by Daumier, 30 June, 1843; confirming his agreement with Philipon; from website Daumier http://www.daumier.org/14.0.html#c760 40 Francs for each lithograph; this is one of the few documents, showing the income which Daumier drew from his artistic activity. With this salary he would be able to support a family of four 1840's

Drawing

“I had been taught that while the Sun indeed affects the upper and outer atmosphere of the Earth, purported connections with the troposphere and weather and climate were uniformly wacky and to be distrusted. I still believe that to some extent, for there is a hypnotism about cycles that seems to attract people. It draws all kinds of creatures out of the woodwork. The claims that were made for associations between weather events and the Sun I thought were pretty preposterous. One of those that turned up was this notion that Gene told me about. About the work of Walter Maunder 100 years before, when he had thought that there was a prolonged period of time in the 1600s when the Sun wasn’t so active.”

John A. Eddy (1931–2009) American astronomer

People, Time, Sun, Drawing

“What I set myself to do was this, to write a sort of grammar of thirteenth-century architecture, and to illustrate it with carefully measured details. I moreover resolved, when I did measure details or buildings, to do the part I wanted, and not to waste time by trying to make a finished drawing by means of the surroundings. The plan of the book fell through, for I had scarcely been at work two months before the advertisement of M. Viollet-le-Duc's Dictionary appeared, and I then continued tho drawings for my own instruction and without any intention of publication.”

William Burges (1827–1881) English architect

William Burges, Architectural Drawings, London, 1870. p. 1; As cited in American Architect and Building News. 1881. Vol. 9. p. 236

Books, Appearance, Time, Parting

“I grew up always wanting to be an artist, and it was in high school when I started to really like writing. I was a junior in high school thinking about what I wanted to do with my life and I thought it would be great if I could find a job in which I could both draw and paint … and write which was this new thing that I loved. And I thought children's picture books would be the perfect job for me. It was a great combination of those skills and that's when I decided that's what I wanted to do.”

Kevin Henkes (1960) American children's illustrator and writer

Some Kids' Books Are Worth The Wait: 'They Do Take Time,' Says Kevin Henkes https://www.npr.org/2015/09/22/442521229/some-kids-books-are-worth-the-wait-they-do-take-time-says-kevin-henkes (September 22, 2015)

Love, Life, Children, Books

“Let me but feel thy look's embrace,
Transparent, pure, and warm,
And I'll not ask to touch thy face,
Or fold thee in mine arm.
For in thine eyes a girl doth rise,
Arrayed in candid bliss,
And draws me to her with a charm
More close than any kiss.”

Henry Van Dyke (1852–1933) American diplomat

Love in a Look.

Feeling, Girl, Kiss, Drawing

“Dialogue in Hell:
Ninth Dialogue

Machiavelli: And where have you ever seen that a constitution, really worthy of the name, really durable, has ever been the result of popular deliberation? A constitution must come forth fully armed from the head of one man alone, or it is nothing but a work condemned to oblivion. Without homogeneity, without linking of parties, without practical strength, it will necessarily bear the imprint of all the weaknesses of sight that have presided at its composition….

Montesquieu: …One would say, to hear you, that you are going to draw a people out of chaos or out of the deep night of their first origins….

Machiavelli: I do not say no: therefore you will see that I need not destroy your institutions from top to bottom to arrive at my goal. It will suffice me to modify the arrangements and to change the methods.”

Will Eisner (1917–2005) American cartoonist

The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

People, Hell, Change, Drawing

“If the young are watched too closely, if they are kept habitually under surveillance, the spring of action is weakened, the power of initiative is destroyed, and they become mediocre, commonplace, mechanical men and women, from whom nothing excellent or distinguished may be expected. Parents and teachers … must so deal with the young as to bring them little by little under the control of reason and conscience; and in this, nothing thwarts more surely than excessive supervision, for it draws attention from the inner view and voice to the eyes of the watchers. It may cultivate a love of decency and propriety, but not the creative feeling that we live with God and that righteousness is life.”

John Lancaster Spalding (1840–1916) Catholic bishop

Source: Aphorisms and Reflections (1901), p. 257-258

Love, Life, Women, Men

“Leave this hypocritical prating about the masses. Masses are rude, lame, unmade, pernicious in their demands and influence, and need not to be flattered, but to be schooled. I wish not to concede anything to them, but to tame, drill, divide, and break them up, and draw individuals out of them.”

Ralph Waldo Emerson book The Conduct of Life

The Conduct of Life, Chapter 7, “Considerations by the Way,” Complete Works (1883), vol. 6, p. 237

School, Drawing

“It is commonly said that seeing is believing, but feeling is the very truth. I shall, therefore, give the result of my experience of hypnotism in my own person. In the middle of September, 1844, I suffered from a most severe attack of rheumatism, implicating the left side of the neck and chest, and the left arm. At first the pain was moderately severe, and I took some medicine to remove it; but, instead of this, it became more and more violent, and had tormented me for three days, and was so excruciating, that it entirely deprived me of sleep for three nights successively, and on the last of the three nights I could not remain in any one posture for five minutes, from the severity of the pain. On the forenoon of the next day, whilst visiting my patients, every jolt of the carriage I could only compare to several sharp instruments being thrust through my shoulder, neck, and chest. A full inspiration was attended with stabbing pain, such as is experienced in pleurisy. When I returned home for dinner I could neither turn my head, lift my arm, nor draw a breath, without suffering extreme pain. In this condition I resolved to try the effects of hypnotism. I requested two friends, who were present, and who both understood the system, to watch the effects, and arouse me when I had passed sufficiently into the condition; and, with their assurance that they would give strict attention to their charge, I sat down and hypnotised myself, extending the extremities. At the expiration of nine minutes they aroused me, and, to my agreeable surprise, I was quite free from pain, being able to move in any way with perfect ease. I say agreeably surprised, on this account; I had seen like results with many patients; but it is one thing to hear of pain, and another to feel it. My suffering was so exquisite that I could not imagine anyone else ever suffered so intensely as myself on that occasion; and, therefore, I merely expected a mitigation, so that I was truly agreeably surprised to find myself quite free from pain. I continued quite easy all the afternoon, slept comfortably all night, and the following morning felt a little stiffness, but no pain. A week thereafter I had a slight return, which I removed by hypnotising myself once more; and I have remained quite free from rheumatism ever since, now nearly six years.”

James Braid (1795–1860) Scottish surgeon, hypnotist, and hypnotherapist

In “The First Account of Self-Hypnosis Quoted in “The Original Philosophy of Hypnotherapy (from The Discovery of Hypnosis)”.

Pain, Truth, Way, Feeling

“And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..”

Joan Mitchell (1925–1992) American painter

second side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Women, Books, School, Beauty

“I was introduced to the great philosophical systems of the past to which the Western universities have given their blessing, arranging and classifying them with the delicate care lavished on museum pieces. When once these systems were so handled, it was natural that they should be regarded as monuments of human intellection. And monuments, because they mark achievements at their particular point in history, soon become conservative in the impression which they make on posterity. I was introduced to Plato, Aristotle, Descartes, Kant, Hegel, Schopenhauer, Nietzsche, Marx and other immortals, to whom I should like to refer as the university philosophers. But these titans were expounded in such a way that a student from a colony could easily find his breast agitated by Conflicting attitudes. These attitudes can have effects which spread out over a whole society, should such a student finally pursue a political life. A colonial student does not by origin belong to the intellectual history in which the university philosophers are such impressive landmarks. The colonial student can be so seduced by these attempts to give a philosophical account of the universe, that surrenders his whole personality to them. When he does this, he loses sight of the fundamental social fact that he is a colonial subject. In this way, he omits to draw from his education and from the concern displayed by the great philosophers for human problems, anything which he might relate to the very real problem of colonial domination, which, as it happens, conditions the immediate life of every colonized African. With single-minded devotion, the colonial student meanders through the intricacies of the philosophical systems. And yet these systems did aim at providing a philosophical account ofthe world in the circumstances and conditions of their time. For even philosophical systems are facts of history. By the time, however, that they come to be accepted in the universities for exposition, they have lost the vital power which they had at their first statement, they have shed their dynamism and polemic reference. This is a result of the academic treatment which they are given. The academic treatment is the result of an attitude to philosophical systems as though there was nothing to them hut statements standing in logical relation to one another. This defective approach to scholarship was suffered hy different categories of colonial student. Many of them had heen handpicked and, so to say, carried certificates ofworthiness with them. These were considered fit to become enlightened servants of the colonial administration. The process by which this category of student became fit usually started at an early age, for not infrequently they had lost contact early in life with their traditional background. By reason of their lack of contact with their own roots, they became prone to accept some theory of universalism, provided it was expressed in vague, mellifluous terms. Armed with their universalism, they carried away from their university courses an attitude entirely at variance with the concrete reality of their people and their struggle. When they came across doctrines of a combative nature, like those of Marxism, they reduced them to arid abstractions, to common-room subtleties. In this way, through the good graces oftheir colonialist patrons, these students, now competent in the art of forming not a concrete environmental view of social political problems, but an abstract, 'liberal' outlook, began to fulfil the hopes and expectations oftheir guides and guardians.”

Kwame Nkrumah (1909–1972) Pan Africanist and First Prime Minister and President of Ghana

Source: Consciencism (1964), Introduction, pp. 2-4.

Life, People, Age, World

“Now down in the Ocean sank the fiery light of day,
drawing the dark night across the grain-giving earth.”

Homér Iliad

VIII. 485–486 (tr. Robert Fagles).
Iliad (c. 750 BC)

Light, Drawing, Night

“I am sure every Englishman who has a heart in his breast and a feeling of justice in his mind, sympathizes with those unfortunate Danes (cheers), and wishes that this country could have been able to draw the sword successfully in their defence (continued cheers); but I am satisfied that those who reflect on the season of the year when that war broke out, on the means which this country could have applied for deciding in one sense that issue, I am satisfied that those who make these reflections will think that we acted wisely in not embarking in that dispute. (Cheers.) To have sent a fleet in midwinter to the Baltic every sailor would tell you was an impossibility, but if it could have gone it would have been attended by no effectual result. Ships sailing on the sea cannot stop armies on land, and to have attempted to stop the progress of an army by sending a fleet to the Baltic would have been attempting to do that which it was not possible to accomplish. (Hear, hear.) If England could have sent an army, and although we all know how admirable that army is on the peace establishment, we must acknowledge that we have no means of sending out a force at all equal to cope with the 300,000 or 400,000 men whom the 30,000,000 or 40,000,000 of Germany could have pitted against us, and that such an attempt would only have insured a disgraceful discomfiture—not to the army, indeed, but to the Government which sent out an inferior force and expected it to cope successfully with a force so vastly superior. (Cheers.) … we did not think that the Danish cause would be considered as sufficiently British, and as sufficiently bearing on the interests and the security and the honour of England, as to make it justifiable to ask the country to make those exertions which such a war would render necessary.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Speech at Tiverton (23 August 1864) on the Second Schleswig War, quoted in ‘Lord Palmerston At Tiverton’, The Times (24 August 1864), p. 9.
1860s

Men, War, Peace, Justice

“From reveries so airy, from the toil
Of dropping buckets into empty wells,
And growing old in drawing nothing up.”

William Cowper The Task

Source: The Task (1785), Book III, The Garden, Line 188.

Drawing

“It is with logic as it is with other sciences. They draw wisdom from the mysterious source of plain experience. Agriculture, e. g., aims to teach the farmer how to cultivate the soil; but fields were tilled long before any agricultural college had begun its lectures. In the same way human beings think without ever having heard of logic. But by practice they improve their innate faculty of thought, they make progress, they gradually learn to make better use of it. Finally, just as the farmer arrives at the science of agriculture, so the thinker arrives at logic, acquires a clear consciousness of his faculty of thought and a professional dexterity in applying it.”

Joseph Dietzgen (1828–1888) german philosopher

Letter 2
Letters on Logic: Especially Democratic-Proletarian Logic (1906)

Wisdom, Way, Thinking, Learning

“There is a species of person called a 'Modern Churchman' who draws the full salary of a beneficed clergyman and need not commit himself to any religious belief”

Evelyn Waugh book Decline and Fall

Decline and Fall (1928)

Drawing, Personality

“Taoist yogis sought to harness the Tao directly, drawing it first into their own heart-minds and then beaming it to others. Yogis who managed this feat would for the most part be unnoticed, but their life-giving enterprise did more for the community than the works of other benefactors.”

Huston Smith book The World's Religions

The World's Religions (1991)

Life, Communication, Heart, Parting

“Mr. Hoover's presidency was drawing to a close and Mr. Franklin Delano Roosevelt, one of the most dynamic grave diggers of the Western world, succeeded on a platform not dissimilar to that of his predecessor. Though Mr. Roosevelt belonged to the Democratic party, his social background indisposed him for a time to leftist policies, both national and international. But his wife (from another branch of the Roosevelt family) was more in tune with leftist ideas, undoubtedly the aftereffect of higher feminine education in the United States. Whereas Mr. Roosevelt played his politics by ear, his wife, who wielded considerable influence, was ideologically far more consistent. Mr. Roosevelt, moreover, had but the scantiest education for his task; he hardly knew Europe, and his knowledge of foreign languages was as modest as his acquaintance with the mentality of other nations. Largely ignorant himself, and profoundly anti-intellectual, he had no way of judging, evaluating, and coordinating expert opinion. Even worse, perhaps, his sense of objective truth was gravely impaired. His handicap was by no means primarily of a physical nature.”

Erik von Kuehnelt-Leddihn (1909–1999) Austrian noble and political theorist

Source: Leftism Revisited (1990), pp. 230-231

Truth, World, Education, Family

“No man is quite so much a hero in the dark as in broad daylight, in solitude as in society, in the gloom of the churchyard as in the blaze of the drawing-room. The season and the place may be such as to oppress the stoutest heart with a mysterious awe, which, if not fear, is near akin to it.”

William H. Prescott (1796–1859) American historian and Hispanist

"Scottish Song" (1826), p. 588.
Biographical and Critical Miscellanies

Fear, Solitude, Heart, Drawing

“White magic is supposedly utilized only for good or unselfish purposes, and black magic, we are told, is used only for selfish or "evil" reasons. Satanism draws no such dividing line. Magic is magic, be it used to help or hinder. The Satanist, being the magician, should have the ability to decide what is just, and then apply the powers of magic to attain his goals. Nature, in her ineffable wisdom, wastes nothing. Seemingly useless but parasitic or destructive persons should be used like clay pigeons: for target practice.”

Anton LaVey book The Satanic Bible

The Satanic Bible (1969)

Wisdom, Nature, Evil, Help

“Akira Toriyama: That's a tough question. I thought of Piccolo first, and I wanted to draw him as a scary character, and it was only afterwards that I had to come up with a species. Since they have antennae, I thought they looked like slugs. So "Namekian" is a play on words, but I didn't think too deeply about it. I don't think they're plants, but they may be hermaphrodites.”

Akira Toriyama (1955) manga artist and video game character designer

"Shonen Jump interviews Akira Toriyama http://www.gamespot.com/pages/unions/read_article.php?topic_id=24686028&union_id=3216 Interview with Shōnen Jump

Question, Thinking, Drawing

“Open your grief-stricken heart to the Lord. Weep and sincerely pray, 'O Lord, draw me towards You; give me peace of mind.' By doing so constantly you, will gradually attain peace of mind.”

Sarada Devi (1853–1920) Hindu religious figure, spiritual consort of Ramakrishna

Peace, Heart, Drawing, Sincerity

“I have [drawings of] about twelve figures of diggers and men who are working in a potato field, and I wonder if I could not make something of it, you have still a few, for instance, a man who fills a bag with potatoes. Well, I do not know for sure, but sooner or later I shall accomplish that, for I looked at it so attentively this summer, and here in the dunes I could make a good study of the earth and the sky, and then boldly put in the figures.”

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

Quote in letter 169, from The Hague, January, 1882; as cited in Vincent van Gogh, Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, catalog-page: Dutch Period: - 4. Potato Diggers 1880s, 1882

Men, Study, Summer, Drawing

“Firmly incased in this solid rocky structure, beyond the power of nature's storms or of the ruthless hand of the destroyer, the outline drawings of God's great plan have stood for four thousand years, prepared to give their testimony at the time appointed, in corroboration of the similarly revealed, but for ages hidden, testimony of the sure Word of Prophecy. The testimony of this "Witness to the Lord in the land of Egypt," like that of the written Word, points with solemn and unerring precision to the final wreck of the old order of things of the "Pit" of oblivion, and to the glorious establishment of the new, under Christ Jesus, the great Chief Corner-stone of God's eternal building, in conformity with the lines of whose glorious character all things worthy of everlasting existence must be built up under him. Amen! Amen! Thy Kingdom come! Thy will be done on earth as it is done in heaven!”

Charles Taze Russell (1852–1916) Founder of the Bible Student Movement

Milennial Dawn, Vol. III: Thy Kingdom Come (1891)

God, Age, Nature, Time

“I also sold some drawings [he means his watercolors] - the Dutch pieces [he painted in The Netherlands] sell rather well [in Brussels, where he lived then]. People seem to prefer colored drawings here. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik heb alweder ook eenige teekeningen [hij bedoelt hiermee zijn aquarellen] verkocht – de Hollandsche gevallen vinden nogal aftrek [in Brussel, waar hij toen woonde]. Men schijnt hier gekleurde teekeningen te prefereren.
In a letter to Jan Weissenbruch, 18 Dec. 1847; in Haagsch Gemeentearchief / Municipal Archive of The Hague; ; as cited by De Bodt, in Halverwege Parijs, Willem Roelofs en de Nederlandse Schilderskolonie in Brussel, Gent, 1995a, in 1995a, pp. 233-35
1840' + 1850's

People, Color, Drawing, Painting

“Anacalypsis: An Attempt to Draw Aside the Veil of the Saitic or an Inquiry into the Origin of Languages, Nations and Religions.”

Godfrey Higgins book Anacalypsis

Full title of the work.
Anacalypsis (published 1833)

Religion, Drawing

“Spinoza is the Christ of philosophers, and the greatest philosophers are hardly more than apostles who distance themselves from or draw near to this mystery.”

Baruch Spinoza (1632–1677) Dutch philosopher

Gilles Deleuze & Félix Guattari, What is Philosophy? (cited in the Internet Encyclopedia of Philosophy http://www.iep.utm.edu/d/deleuze.htm#SH3b) A - F, Gilles Deleuze

Christ, Drawing

“He flips to a drawing of a spindly boy wearing oversized glasses, hugging an ABC primer, and sniffing a daisy. This is the enemy. " The first [mistake] is to assume that he is a sort of cretinoid idiot, who can't see, think, or anything. It might be a fair, if dangerous, assumption that the enemy is at least as stupid as we are."”

Herman Kahn (1922–1983) American futurist

pg: 11
The Worlds of Herman Kahn: the intuitive science of thermonuclear war.

Stupidity, Boy, Thinking, Drawing

“Earthly joy can take but a bat-like flight, always checked, always limited, in dusk and darkness. But the love of Christ breaks through the vaulting, and leads us up into the free sky above, expanding to the very throne of Jehovah, and drawing us still upward to the infinite heights of glory.”

Frances Ridley Havergal (1836–1879) British poet and hymn-writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 399.

Love, Joy, Christ, Drawing

““I love reading manga!!” “I really, really love drawing them too!!” “I draw therefore I am!!” “This is proof that I exist!! I’m satisfied with just that!!!” The point is I’m a manga idiot.”

Hiromu Arakawa (1973) award winning Japanese manga artist

Interview with mobuta.com (2004)

Love, Reading, Drawing

“I love baths. Absolutely love baths. I like to just draw a nice warm bath with a lot of bubbles, get a few sweets, maybe put them by the bath, put on really good music and chill.”

Aaliyah (1979–2001) American singer, actress and model

MTV Stripped interview (2001)

Love, Music, Drawing

“It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

Color, Feeling, Light, Appearance

“Then old Nobodaddy aloft
Farted and belched and coughed,
And said, "I love hanging and drawing and quartering
Every bit as well as war and slaughtering."”

William Blake (1757–1827) English Romantic poet and artist

Let the Brothels of Paris, st. 2
1790s, Poems from Blake's Notebook (c. 1791-1792)

Love, War, Drawing

“From individual independence he proceeded to association. If it was inconsistent with the dignity of human nature to say that men were gregarious animals, like wild horses and wild geese, it surely could offend no delicacy to say they were social animals by nature, that there were mutual sympathies, and, above all, the sweet attraction of the sexes, which must soon draw them together in little groups, and by degrees in larger congregations, for mutual assistance and defence. And this must have happened before any formal covenant, by express words or signs, was concluded. When general counsels and deliberations commenced, the objects could be no other than the mutual defence and security of every individual for his life, his liberty, and his property. To suppose them to have surrendered these in any other way than by equal rules and general consent was to suppose them idiots or madmen, whose acts were never binding. To suppose them surprised by fraud, or compelled by force, into any other compact, such fraud and such force could confer no obligation. Every man had a right to trample it under foot whenever he pleased. In short, he asserted these rights to be derived only from nature and the author of nature; that they were inherent, inalienable, and indefeasible by any laws, pacts, contracts, covenants, or stipulations, which man could devise.”

John Adams (1735–1826) 2nd President of the United States

1810s, Letter to William Tudor (1818)

Life, Men, Law, Sex

“With regard to the principle [of using symbols to represent sounds], it matters little whether the symbol is an elaborately detailed picture, a slightly stylized drawing, or a drastically abbreviated symbol of essentially abstract form. What is crucial is to recognize that the diverse forms perform the same function in representing sound. To see that writing has the form of pictures and to conclude that it is pictographic is correct in only one sense -- that of the form, but not the function, of the symbols. We can put it this way:
QUESTION: When is a pictograph not a pictograph?
ANSWER: When it represents a sound.”

John DeFrancis book The Chinese Language: Fact and Fantasy

The Chinese Language: Fact and Fantasy (1984, p. 140) http://www.pinyin.info/readings/texts/ideographic_myth.html The Chinese Language: Fact and Fantasy (1984)

Way, Question, Sense, Drawing

“Equally unfounded is the complaint that the study of science and the technical application of the forces of nature gives to mankind a thoroughly material direction, makes them proud of their knowledge and power, and alienates ideal endeavours. The deeper we penetrate into the harmonious action of natural forces regulated by eternal unalterable laws, and yet so thickly veiled from our complete comprehension, the more we feel on the contrary moved to humble modesty, the smaller appears to us the extent of our knowledge, the more active is our endeavour to draw more from the inexhaustible fountain of knowledge, and understanding, and the higher rises our admiration of the endless wisdom which ordains and penetrates the whole creation.”

Werner von Siemens (1816–1892) German inventor and industrialist

Bonnier Corporation. Popular Science https://books.google.com/books?id=tyoDAAAAMBAJ&printsec=frontcover#v=onepage&q&f=false Apr 1887,Vol. 30, No. 46. [0161-7370]. pp. 814-820\ Werner von Siemens (1895). Scientific & technical papers of Werner von Siemens. J. Murray. p. 518

Wisdom, Law, Feeling, Understanding

“I saw Guillaumin. We went to look at my two latest paintings which were bought by Durand. All he said was 'there's no firmness in the foreground'. It was evening, we were seeing the paintings by gas-light, which neutralized the orange tones. As Seurat says, what they [the Impressionists]] look for is thick impasto; but at Clauzet's I saw a Guillaumin, also in the evening, and it looked made of tar, so much shellac was used at the base of this painting, which in my view is really old stuff; it must be admitted that he made an effort to tighten the design but then the harmonies are insignificant and lack logic - there is no drawing, there is a flurry of colors, but no modeling; it is one step from [w: Jules Dupré|Jules Dupreé]] - modernized.”

Camille Pissarro (1830–1903) French painter

Quote of Pissarro, in a letter, Paris, 6 December 1886, to his son Lucien; in 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. 84
1880's

Color, Effort, Light, Drawing

Quotes about draw page 9

Quotes about draw
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