Quotes about orange

A collection of quotes on the topic of orange, likeness, blue, doing.

Quotes about orange

Carl R. Rogers photo
Lin Yutang photo
Jeremy Clarkson photo

“Let's be perfectly clear, shall we. The fox is not a little orange puppy dog with doe eyes and a waggly tail. It's a disease-ridden wolf with the morals of a psychopath and the teeth of a great white shark.”

Jeremy Clarkson (1960) English broadcaster, journalist and writer

A Murderous Fox Has Made Me Shoot David Beckham, p. 161
The World According to Clarkson (2005)

Yuri Gagarin photo

“Rays were blazing through the atmosphere of the earth, the horizon became bright orange, gradually passing into all the colors of the rainbow: from light blue to dark blue, to violet and then to black. What an indescribable gamut of colors! Just like the paintings of the artist Nicholas Roerich.”

Yuri Gagarin (1934–1968) Soviet pilot and cosmonaut, the first human in space

Statement of April 1961, as quoted in Warrior of Light : The Life of Nicholas Roerich : Artist, Himalayan explorer and visionary (2002) by Colleen Messina, p. 46

Arthur Miller photo

“You can't eat the orange and throw the peel away — a man is not a piece of fruit.”

Willy
Source: Death of a Salesman (1949)

Terry Pratchett photo
Vladimir Nabokov photo
Jacques Prevért photo
Claude Monet photo

“These palms are driving me crazy; the motifs are extremely difficult to seize, to put on canvas; it's so bushy everywhere, although delightful to the eye... I would like to do orange and lemon trees silhouetted against the blue sea, but cannot find them as I would like.”

Claude Monet (1840–1926) French impressionist painter

in a letter from Bordighera to friends in Paris, Jan. 1884; as cited in: Joslyn Art Museum, ‎Holliday T. Day, ‎Hollister Sturges (1987), Joslyn Art Museum: Paintings and Sculpture from the European and American Collections, p. 100
1870 - 1890

Johann Wolfgang von Goethe photo
Galileo Galilei photo

“What greater stupidity can be imagined than that of calling jewels, silver, and gold "precious," and earth and soil "base"? People who do this ought to remember that if there were as great a scarcity of soil as of jewels or precious metals, there would not be a prince who would not spend a bushel of diamonds and rubies and a cartload of gold just to have enough earth to plant a jasmine in a little pot, or to sow an orange seed and watch it sprout, grow, and produce its handsome leaves, its fragrant flowers, and fine fruit.”

Sagredo
Variant translation: I cannot without great wonder, nay more, disbelief, hear it being attributed to natural bodies as a great honor and perfection that they are impassable, immutable, inalterable, etc.: as conversely, I hear it esteemed a great imperfection to be alterable, generable, and mutable. It is my opinion that the earth is very noble and admirable by reason of the many and different alterations, mutations, and generations which incessantly occur in it. And if, without being subject to any alteration, it had been one great heap of sand, or a mass of jade, or if, since the time of the deluge, the waters freezing which covered it, it had continued an immense globe of crystal, wherein nothing had ever grown, altered, or changed, I should have esteemed it a wretched lump of no benefit to the Universe, a mass of idleness, and in a word superfluous, exactly as if it had never been in Nature. The difference for me would be the same as between a living and a dead creature. I say the same concerning the Moon, Jupiter, and all the other globes of the Universe.
The more I delve into the consideration of the vanity of popular discourses, the more empty and simple I find them. What greater folly can be imagined than to call gems, silver, and gold noble, and earth and dirt base? For do not these persons consider that if there were as great a scarcity of earth as there is of jewels and precious metals, there would be no king who would not gladly give a heap of diamonds and rubies and many ingots of gold to purchase only so much earth as would suffice to plant a jessamine in a little pot or to set a tangerine in it, that he might see it sprout, grow up, and bring forth such goodly leaves, fragrant flowers, and delicate fruit? It is scarcity and plenty that makes things esteemed and despised by the vulgar, who will say that there is a most beautiful diamond, for it resembles a clear water, and yet would not part from it for ten tons of water. 'These men who so extol incorruptibility, inalterability, and so on, speak thus, I believe, out of the great desire they have to live long and for fear of death, not considering that, if men had been immortal, they would not have come into the world. These people deserve to meet with a Medusa's head that would transform them into statues of diamond and jade, that so they might become more perfect than they are.
Part of this passage, in Italian, I detrattori della corruptibilitá meriterebber d'esser cangiati in statue., has also ben translated into English as "Detractors of corruptibility deserve being turned into statues."
Dialogo sopra i due massimi sistemi del mondo. (PDF) http://www.liberliber.it/biblioteca/g/galilei/le_opere_di_galileo_galilei_edizione_nazionale_sotto_gli_etc/pdf/le_ope_p.pdf, Le Opere di Galileo Galilei vol. VII, pg. 58.
Compare Maimonides "If man were never subject to change there could be no generation; there would be one single being..." Guide for the Perplexed (c. 1190)
Dialogue Concerning the Two Chief World Systems (1632)
Context: I cannot without great astonishment — I might say without great insult to my intelligence — hear it attributed as a prime perfection and nobility of the natural and integral bodies of the universe that they are invariant, immutable, inalterable, etc., while on the other hand it is called a great imperfection to be alterable, generable, mutable, etc. For my part I consider the earth very noble and admirable precisely because of the diverse alterations, changes, generations, etc. that occur in it incessantly. If, not being subject to any changes, it were a vast desert of sand or a mountain of jasper, or if at the time of the flood the waters which covered it had frozen, and it had remained an enormous globe of ice where nothing was ever born or ever altered or changed, I should deem it a useless lump in the universe, devoid of activity and, in a word, superfluous and essentially non-existent. This is exactly the difference between a living animal and a dead one; and I say the same of the moon, of Jupiter, and of all other world globes.
The deeper I go in considering the vanities of popular reasoning, the lighter and more foolish I find them. What greater stupidity can be imagined than that of calling jewels, silver, and gold "precious," and earth and soil "base"? People who do this ought to remember that if there were as great a scarcity of soil as of jewels or precious metals, there would not be a prince who would not spend a bushel of diamonds and rubies and a cartload of gold just to have enough earth to plant a jasmine in a little pot, or to sow an orange seed and watch it sprout, grow, and produce its handsome leaves, its fragrant flowers, and fine fruit. It is scarcity and plenty that make the vulgar take things to be precious or worthless; they call a diamond very beautiful because it is like pure water, and then would not exchange one for ten barrels of water. Those who so greatly exalt incorruptibility, inalterability, etc. are reduced to talking this way, I believe, by their great desire to go on living, and by the terror they have of death. They do not reflect that if men were immortal, they themselves would never have come into the world. Such men really deserve to encounter a Medusa's head which would transmute them into statues of jasper or of diamond, and thus make them more perfect than they are.

Vincent Van Gogh photo

“There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you?”

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

In a letter to Émile Bernard, from Arles, June 1888, in 'Van Gogh's Letters', http://www.webexhibits.org/vangogh/letter/18/B06.htm
1880s, 1888
Context: There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.

Frank O'Hara photo
Charlaine Harris photo
Anthony Burgess photo

“How was I supposed to concentrate on my mental health when my therapist was encased in orange sparkle madness?”

E. Lockhart (1967) American writer of novels as E. Lockhart (mainly for teenage girls) and of picture books under real name Emily J…

Source: The Treasure Map of Boys: Noel, Jackson, Finn, Hutch, Gideon—and me, Ruby Oliver

Anthony Burgess photo
John Steinbeck photo
Ellen DeGeneres photo

“When life gives you lemons…. they could really be oranges.”

Ellen DeGeneres (1958) American stand-up comedian, television host, and actress
Sara Shepard photo
Suzanne Collins photo
Margaret Atwood photo
Jim Butcher photo
Markus Zusak photo
Sara Shepard photo
Suzanne Collins photo
Christopher Moore photo
Jonathan Carroll photo
Steven Wright photo
Cassandra Clare photo
Herman Melville photo

“Who in the rainbow can draw the line where the violet tint ends and the orange tint begins? Distinctly we see the difference of the colors, but where exactly does the one first blendingly enter into the other? So with sanity and insanity.”

Source: Billy Budd, the Sailor (1891), Ch. 21
Source: Billy Budd, Sailor
Context: Who in the rainbow can draw the line where the violet tint ends and the orange tint begins? Distinctly we see the difference of the colors, but where exactly does the one first blendingly enter into the other? So with sanity and insanity. In pronounced cases there is no question about them. But in some supposed cases, in various degrees supposedly less pronounced, to draw the exact line of demarcation few will undertake tho' for a fee some professional experts will. There is nothing nameable but that some men will undertake to do it for pay.

Rick Riordan photo
Gary Shteyngart photo
Rachel Caine photo

“I had no name for that particular hue of orange, other than unfortunate.”

Rachel Caine (1962) American writer

Source: Bitter Blood

Gabriel García Márquez photo
Rick Riordan photo
Kathy Reichs photo
Salvador Dalí photo

“Use materials with forceful MUSCULAR colours – the reddest of reds, the most purple of purples, the greenest of greens, intense yellows, orange, vermillion – and SKELETON tones of white, grey and black.”

Giacomo Balla (1871–1958) Italian artist

(Manuscript, 1914); as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 148
Futurist Manifesto of Men's clothing,' 1913/1914

Maureen O'Hara photo
Ernest Bramah photo

“Do not adjust your sandals while passing through a melon-field, nor yet arrange your hat beneath an orange-tree.”

Ernest Bramah (1868–1942) English author

The Story of Lao Ting and the Luminous Insect
Kai Lung's Golden Hours (1922)

Ted Hughes photo
Beck photo
Nasreddin photo

“Knowledge is like the carrot, few know by looking at the green top that the best part, the orange part, is there. Like the carrot, if you don't work for it, it will wither away and rot. And finally, like the carrot, there are a great many donkeys and jackasses that are associated with it.”

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

Dan Keding, Elder Tales: stories of wisdom and courage from around the world (2008), ISBN 1591585945, p. 151

Yves Klein photo
Gloria Estefan photo
Kevin James photo
Masanobu Fukuoka photo
Ben Croshaw photo
Trevor Baylis photo
Hans Arp photo

“These collages were static symmetrical constructions, portico's with pathetic vegetation, the gateway to the realm of dreams. They were done with colored paper in black, orange or blue dye plates. Although cubist painting interested me very much, not a trace of their influence was to be found in my collages.”

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

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 420 - quote on his early collages, Hans Arp made ca. 1914.

Warren Farrell photo
Truman Capote photo
Gerald Durrell photo
Margaret Cho photo
Christopher Hitchens photo
Conor Oberst photo
Vincent Van Gogh photo

“Of all the colors I ordered: the three chromes, the Prussian blue, the emerald, the crimson lakes, the malachite green, all the orange lead, hardly one of them is to be found on the Dutch palette, in Maris, in Mauve or Israels - [all contemporaries of Vincent, Dutch painters of the Hague School. ]”

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

Quote in his letter to brother Theo, from Arles, France, Spring 1888; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 476), p 31
1880s, 1888

Giorgio Morandi photo

“Perhaps I will have photographs taken of the still life with the round table and of the other with oranges and the [piece of] furniture behind.”

Giorgio Morandi (1890–1964) Italian painter

in his letter to the Bolognese writer Raimondi of September 11, 1919; as quoted in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 102
Morandi was referring to some still life paintings he recently made, and he pressed Raimondi to lend him the monograph of Cézanne (written by Vollard and published in 1914).
1925 - 1945

Sherman Alexie photo
Jim Morrison photo
Benjamin Spock photo
Anthony Burgess photo
Jane Austen photo

“The pleasures of friendship, of unreserved conversation, of similarity of taste and opinions will make good amends for orange wine.”

Jane Austen (1775–1817) English novelist

Letter to Cassandra (1808-06-20) [Letters of Jane Austen -- Brabourne Edition]
Letters

Julius Malema photo

“I am not for reconciliation, I am for justice. There is no reconciliation without justice and justice is the return of land. […] AfriForum is a boeremag. It’s a group of Afrikaners who still wish for apartheid. They will never see it. Afrikaner boys, die poppe sal dans. The EFF is coming for you boys. Afrikaner boys, the ANC has made you to think this thing is still Orange Free State. This thing is not Orange Free State. This is Free State. When we take over power, Afrikaner males, you will know your place. Just pray, pray to [your] ancestors, pray to Malan, pray to Verwoerd, pray and ask them for EFF not to come into power. Because [if] we come into power, Afrikaner men, this side! This is where you belong, this is how you are going to behave. They must know, these Afrikaner males, they must know, we are not scared of them ideologically, politically and otherwise. We can take each other toe to toe.”

Julius Malema (1981) South African political activist

To EFF supporters after appearing in the Bloemfontein Magistrate's Court for allegedly contravening the Riotous Assemblies Act, 14 November 2016, Watch: “When we take over power, Afrikaner males, you will know your place.” Malema [video http://www.thesouthafrican.com/watch-when-we-take-over-power-afrikaner-males-you-will-know-your-place-malema-video/], Ezra Claymore, The South African, 14 November 2016. See also: http://citizen.co.za/news/news-national/1344722/afrikaner-boys-die-poppe-sal-dans-malema/, http://sandtonchronicle.co.za/lnn/226059/afrikaner-boys-die-poppe-sal-dans-malema, http://www.news24.com/SouthAfrica/News/de-klerk-must-suffer-malema-20161114

Fred Allen photo

“California's a wonderful place to live - if you happen to be an orange.”

Fred Allen (1894–1956) comedian

Reported in Steven D. Price, 1001 Greatest Things Ever Said About California (2007), p. viii.

Fred Thompson photo
Zlatan Ibrahimović photo

“What Carew does with a football, I can do with an orange.”

Zlatan Ibrahimović (1981) Swedish association football player

answer to criticism from Norwegian footballer John Carew that Zlatan's moves are pointless
Norwegian tabloid VG, April 2002.
Attributed

Michael Moorcock photo
Charles Darwin photo

“The great break in the organic chain between man and his nearest allies, which cannot be bridged over by any extinct or living species, has often been advanced as a grave objection to the belief that man is descended from some lower form; but this objection will not appear of much weight to those who, convinced by general reasons, believe in the general principle of evolution. Breaks incessantly occur in all parts of the series, some being wide, sharp and defined, others less so in various degrees; as between the orang and its nearest allies—between the Tarsius and the other Lemuridæ—between the elephant and in a more striking manner between the Ornithorhynchus or Echidna, and other mammals. But all these breaks depend merely on the number of related forms which have become extinct. At some future period, not very distant as measured by centuries, the civilised races of man will almost certainly exterminate and replace throughout the world the savage races. At the same time the anthropomorphous apes, as Professor Schaaffhausen has remarked, will no doubt be exterminated. The break will then be rendered wider, for it will intervene between man in a more civilised state, as we may hope, than the Caucasian, and some ape as low as a baboon, instead of as at present between the negro or Australian and the gorilla.”

volume I, chapter VI: "On the Affinities and Genealogy of Man", pages 200-201 http://darwin-online.org.uk/content/frameset?pageseq=213&itemID=F937.1&viewtype=image
The sentence "At some future period … the savage races" is often quoted out of context to suggest that Darwin desired this outcome, whereas in fact Darwin simply held that it would occur.
The Descent of Man (1871)

Pauline Kael photo

“At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact desensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films — the freedom to analyze their implications. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us — that only squares and people who believe in censorship are concerned with brutality. Actually, those who believe in censorship are primarily concerned with sex, and they generally worry about violence only when it's eroticized. This means that practically no one raises the issue of the possible cumulative effects of movie brutality. Yet surely, when night after night atrocities are served up to us as entertainment, it's worth some anxiety. We become clockwork oranges if we accept all this pop culture without asking what's in it. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

"Stanley Strangelove" (January 1972) http://www.visual-memory.co.uk/amk/doc/0051.html, review of A Clockwork Orange
Deeper into Movies (1973)

Shaw Neilson photo

“The young girl stood beside me. I
Saw not what her young eyes could see:
—A light, she said, not of the sky
Lives somewhere in the Orange Tree.”

Shaw Neilson (1872–1942) Early twentieth century Australian poet

Ballad and Lyrical Poems (1923), "The Orange Tree"

Donald Barthelme photo
Roger Manganelli photo
Melinda M. Snodgrass photo

“Clouds boiled like a brooding frown in the west, and the sun drew fire from them as it sank burning and orange into their billowing embrace.”

Melinda M. Snodgrass (1951) American writer

Source: Queen's Gambit Declined (1989), Chapter 17 (p. 219)

Edmund White photo
Franz Marc photo
Edward St. Aubyn photo
Paul Signac photo
Camille Pissarro photo
Frank O'Hara photo

“It is even in
prose, I am a real poet. My poem
is finished and I haven't mentioned
orange yet It's twelve poems, I call
it oranges.”

Frank O'Hara (1926–1966) American poet, art critic and writer

Why I Am Not a Painter (l. 24-28) (1976).

Sylvia Plath photo

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

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

Georges Bernanos photo
Jacob Bronowski photo
Marianne von Werefkin photo

“A colossal orange moon rolls as an unbelievable ball against intense blue. The silhouettes of the houses flank this blue on both sides, forming a childishly rigid little frame. As if we witness the birth of the song of flowers which are subordinated to this blue and dominated by the orange moon.”

Marianne von Werefkin (1860–1938) expressionist painter

she wrote in 1905
1895 - 1905
Source: Lettres a un Inconnu, (Notebook III, p. 120) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska. Klincksieck, 1999. p. 156