Quotes about picture
page 11

“Just look at the internal repression inside the United States, the Patriot Act, which is a repressive law against U. S. citizens. They have put in jail a group of journalists for not revealing their sources. They won't allow them to take pictures of the bodies of the dead soldiers, many of them Latinos, coming from Iraq. Those are signs of Goliath's weaknesses.”

Hugo Chávez (1954–2013) 48th President of Venezuela

Hugo Chávez during his closing speech at the World Social Forum in Porto Alegre, Brazil. January 31, 2005. http://www.venezuelanalysis.com/news.php?newsno=1486 2005

Law, Dead

“You wouldn't believe how many people will hang a picture of an electric chair in their room – especially if the color of the picture matches the curtains.”

Andy Warhol (1928–1987) American artist

As quoted in Geoff Nicholson (2002), Andy Warhol: A Beginner's Guide, London: Hodder & Stoughton, ISBN 0-340-84620-8 [ISBN 978-0-340-84620-9]
1968 - 1974, Electric chair quote
Variant: (You wouldn't believe how many people will hang up a picture of an electric chair? especially if it matches the color of their curtains.)

People, Color

“In my use of the camera, I work to make images that go beyond, and even undermine, the conventions of "point of view." Such images transcend the limitation that would seem to be inherent in the photographic mechanism (or "point-of-view machine"). They allow the viewer to see and feel the "room"—or the world, or reality—as it is, beyond the ego’s self-reference. And such images thereby become a non-verbal means of "picturing" the essential human process of ego-transcendence—going beyond the fixed "point of view" of the ego, or the core presumption of separateness”

Adi Da Samraj (1939–2008) American writer

http://www.daplastique.com/about.php?sectionID=3

World, Feeling, Reality

“What happened this far remote would have little political impact on Earth. What the visual media could not carry into living rooms, the general public could not long remain exercised about. Statistically, a majority of the electorate could not or did not read complicated issues; no pictures, no news; no news, no event.”

C. J. Cherryh book Downbelow Station

Book 2, Chapter 2 (p. 118)
Downbelow Station (1981)

Exercises, Reading

“The crucified human body is our best picture of the unacknowledged human soul.”

Stanley Cavell (1926–2018) American philosopher

The Claim of Reason: Wittgenstein, Skepticism, Morality, and Tragedy (Oxford: 1979), p. 430

Soul

“Let him fall if he cannot stand alone! If the Negro cannot live by the line of eternal justice, so beautifully pictured to you in the illustration used by Mr. Phillips, the fault will not be yours, it will be his who made the Negro, and established that line for his government. Let him live or die by that. If you will only untie his hands, and give him a chance, I think he will live. He will work as readily for himself as the white man. A great many delusions have been swept away by this war. One was, that the Negro would not work; he has proved his ability to work. Another was, that the Negro would not fight; that he possessed only the most sheepish attributes of humanity; was a perfect lamb, or an “Uncle Tom;” disposed to take off his coat whenever required, fold his hands, and be whipped by anybody who wanted to whip him. But the war has proved that there is a great deal of human nature in the Negro.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1860s, What the Black Man Wants (1865)

War, Justice, Nature, Thinking

“Unchecked, the tourist will climb over the fence and come right into your house to take pictures of you in your habitat. Cities mindful of tourists have built elaborate “tourist traps” which, luckily, work. Tourists are kept confined to these, and few escape. There is, of course, the type known as the “intrepid tourist.” This one has to be watched carefully or he can become most annoying. Little wonder these are so often the target of terrorists. If there is an aspect of benign terror about the tourist, there is also a great deal of tourist in the terrorist. Terrorists travel with only one thing in mind, just like the tourist, and the specifics of places escape them both. Terrorists travel for the purpose of shooting unsuspecting foreigners, just as tourists travel for the purpose of shooting them with a camera.”

Andrei Codrescu (1946) American writer

“The Tourist,” Raised by Puppets (1990).

Travel, Housing

“Why are pictures like this allowed?’ he suddenly cried. He had stopped in front of a colonial print in which the martyrdom of St Agatha was depicted with all the fervour that incompetence could command.
‘It’s only a saint,’ said Lady Peaslake, placidly raising her head.
‘How disgusting – and how ugly’
‘Yes, very. It’s Roman Catholic.”

E.M. Forster (1879–1970) English novelist

Albergo Empedocle
The Life to Come and other stories (1972)

“For 338 paragraphs the Franks report painted a splendid picture, delineated the light and the shade, and the glowing colours in it, and when Franks got to paragraph 339 he got fed up with the canvas he was painting and chucked a bucket of whitewash over it.”

James Callaghan (1912–2005) Prime Minister of the United Kingdom; 1976-1979

Speech http://hansard.millbanksystems.com/commons/1983/jan/26/falkland-islands-franks-report in the House of Commons (26 January 1983) responding to the Franks Inquiry into intelligence before the Falklands War. Post-Prime Ministerial

Light, Painting

“Oldboy makes us feel a part of something bigger than ourselves. It's a grand, gritty, indelible experience, the sort of picture that mimics great literature in the way it envelops you in a well-told story while also evoking subtle but strong gradations of emotion.”

Stephanie Zacharek (1963) American film critic

Review http://dir.salon.com/story/ent/movies/review/2005/03/25/oldboy/index.html of Oldboy (2003)

Way, Feeling, Literature, Strong

“My purpose is, by Gods assistance, to set forth the Art of painting, as in old times it hath begun, as it was promoted, as it came to that wonderfull perfection mentioned in ancient Authors. The first booke toucheth the first beginnings of Picture. The second booke propoundeth diverse meanes tending to the advancement of this Art. The third booke speaketh of the maine grounds of Art, the which being well observed by the old Artificers, made them come neerer to the height of perfection.”

Franciscus Junius (the younger)

[The painting of the ancients, in three bookes, London, Printed by R. Hodgkinsonne, 1638, 1–2, https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t7hq5gq92;view=1up;seq=13]

God, Books, Art, Time

“I like it to be clean, and that goes with mine as well—I want it to be a clean picture. I don’t want it to be something that doesn’t make sense on their page. It should be crisp and clear and to the point. I follow people because I like to see THEM—not their dog, not food, not their friends—I want to see them. That’s why people follow me.”

Antje Utgaard (1994) American actress

Model Antje Utgaard on how to win at social media https://www.mensfitness.com/life/entertainment/model-antje-utgaard-how-win-social-media (November 15, 2016)

People, Food, Dogs, Sense

“When serious scientists with huge beards aren't looking, I jocularly refer to these fossils as my alien goldfish. Picture the scene: the giant spaceship is parked on a wide beach, and kicking pebbles Commodore Grafnik is in a filthy mood. Yet another planet with hundreds of millions of years to go before intelligence evolves, not even at the zorkquaan stage, for Threga's sake! And as for his pet vlantans!! Purchased at huge expense, all they do is feed voraciously and then fall asleep. Still fuming, Grafnik carries the bowl down to the lagoon edge and (contrary to every regulation in the AIPC [Access to Inhabited Planets Code]) tips the vlantans out. They dart away and several months later enter the fossil record of a planet where they have no right to be.”

Simon Conway Morris (1951) British palaeontologist

Astronomy and Geophysics: Vol. 46, No. 4: "Aliens like us?"
Miscellaneous

Intelligence, Mood

“Well, dust off your thinking caps
Solar powered plastic plants
Pretty pictures of things we ate
We are only what we hate
But in the long run we have found
Silent films are full of sound
Inaudibly free
Slow down everyone
You're moving too fast
Frames can't catch you when
You're moving like that”

Jack Johnson (musician) (1975) American musician

Inaudible Melodies.
Song lyrics, Brushfire Fairytales (2001)

Hate, Thinking

“The original story that I sold [Morgan Creek] (and that I shot) ended with Kinderman blowing away Patient X. There was no exorcism. But it was a Mexican stand-off between me and the studio. I was entitled to one preview, then they could go and do what they wanted with the picture. They gave me a preview but it was the lowest end preview audience I have ever seen in my life. They dragged in zombies from Haiti to watch this film. It was unbelievable. But I decided, better I should do it than anyone else. I foolishly thought: I can do a good exorcism, I’ll turn this pig’s ear into a silk purse. So I did it”

William Peter Blatty book The Exorcist

The Exorcist: Out of the Shadows (Omnibus Press, 1999)

Life

“Open your eyes at last and see… now I will open the book of the world for you, there are no words in it, just pictures.”

Oskar Kokoschka (1886–1980) Austrian dramatic, painter and writer

Books, World

“The Social-Democrat's ideal should not be a trade union secretary. but a tribune of the people, able to react to every manifestation of tyranny and oppression, no matter where it takes place, no matter what stratum or class of the people it affects; he must be able to group all these manifestations into a single picture of police violence and capitalist exploitation; he must be able to take advantage of every petty event in order to explain his socialistic convictions and his Social-Democratic demands to all, in order to explain to all and every the world-historic significance of the struggle for the emancipation of the proletariat.”

Vladimir Lenin (1870–1924) Russian politician, led the October Revolution

Source: What is to be Done? (1902), Chapter Three, Section E, Essential Works of Lenin (1966)

People, World

“The point to be made clear is that, whatever may be our temperament, or our power in the presence of nature, we have to render what we actually see, forgetting everything that appeared before our own time. Which, I think, should enable the artist to express his personality to the full, be it large or small. Now that I am an old man, about seventy, the sensations of colour which produce light give rise to abstractions that prevent me from covering my canvas, and from trying to define the outlines of objects when their points of contact are tenuous and delicate; with the result that my image or picture is incomplete. For another thing, the planes become confused, superimposed; hence Neo-Impressionism (initiated by Seurat and Paul Signac, ed., where everything is outlined in black, an error which must be uncompromisingly rejected. And nature, if consulted, shows us how to achieve this aim.”

Paul Cézanne (1839–1906) French painter

Quote from Cézanne's letter to Émile Bernard, 23 October 1905; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 180
Quotes of Paul Cezanne, after 1900

Error, Nature, Thinking, Light

“I should say today that it's tragic that people lose faith in what was once an honourable profession but people will lose faith in journalists. There's nothing one can do about it. People no longer trust journalists - we'll have to turn to politics instead for our belief in people. I almost mean that. Although, of course, anybody can talk about snouts in troughs and go on about it, for journalists to do so is almost beyond belief. Beyond belief. I know lots of journalists - I know more journalists than I know politicians - and I've never met a more venal and disgusting crowd of people when it comes to expenses and allowances… Not all [of them] but then not all human beings are either. I've cheated expenses. I've fiddled things. You have, of course you have. Let's not confuse what politicians get really wrong - things like wars, things where people die - with the rather tedious bourgeois obsession with whether or not they've charged for their wisteria. It's not that important, it really isn't. It isn't what we're fighting for. It isn't what voting is for and the idea that 'Oh, we've all lost faith in politics' [is] nonsense. It's a journalistic made-up frenzy. I know you don't want me to say that. You want me to say "No, it matters, it's important." It isn't it. Believe me, it isn't. It's not the big deal; it's not what we should be worrying about. I know no one's going to pay any attention and newspapers will great joy over filling yards and yards of newsprint with tiny, pointless details of this politician's or that politician's squalid and sad little life as they see it. It's not the big picture, it really isn't. You know, we get the politicians we deserve, it's our fault as much as anybody else's. This has been going on for years and suddenly because a journalist discovers it it's the biggest story ever! It's absolute nonsense, it really is.”

Stephen Fry (1957) English comedian, actor, writer, presenter, and activist

On the expenses scandal in the UK. On Newsnight on the BBC Website http://news.bbc.co.uk/1/hi/programmes/newsnight/8045869.stm 2000s

Life, War, People, Sadness

“Before it became a winning slogan for Donald Trump, "America First" was a code. On the eve of the worst war the world has ever known, it was Nazi-sympathizer Charles Lindbergh's code for an America which put White Christian Americans of European ancestry before all else. And which pictured Jews – as Trump did just last week by implication – as enemies of America.”

Bradley Burston israeli journalist

Trump's Win, the Greatest Victory for anti-Semitism in America Since 1941 (2016)

War, World

“At first I intended to carry on working in Saint-Prex [in Switzerland, circa 1914 – 1915] in the same way I had been working in Munich [the location of his Blaue Reiter / Blue Rider period]. But something inside me prevented me from painting colourful, sensuous pictures. Suffering had changed my soul, telling me to find other forms and colours to express what was on my mind.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Köpfe, Gesichte, Meditationen', Clemens Weiler
Source: 1936 - 1941, Life Memories' (1938), p. 149

Way, Soul, Suffering, Change

“Towards the end of his life, Schumpeter re-painted his picture of capitalist development on an even broader canvas. In Capitalism, Socialism and Democracy (Schumpeter 1950), he offered a complex, multifaceted argument that the type of capitalism he had earlier described might be passing from the historical scene, morphing by small degrees into some variety of socialism.”

Sidney G. Winter (1935) American economist

Dynamic Capability as a Source of Change, 2008

Life, Democracy, Painting

“I think a picture is more like the real world when it is made out of the real world.”

Robert Rauschenberg (1925–2008) American artist

Quoted in: Kenneth Coutts-Smith (1970) The dream of Icarus, p. 53
1970's

World, Thinking

“In the emerging picture of mankind in the universe, the future (if it exists) will surely entail discoveries about space and time which will open up whole new perspectives in the relationship between mankind, mind, and the uni-verse.… But what is now? There is no such thing in physics; it is not even clear that ‘now’ could ever be described, let alone explained, in terms of physics.… Notions such as ‘the past,’ ‘the present’ and ‘the future’ seem to be more linguistic than physical.… There is no universal now, but only a personal one—a ‘here and now.’ This strongly suggests that we look to the mind, rather than to the physical world, as the origin of the division of time into past, present, and future.…There is none of this in physics.… No physical experiment has ever been performed to detect the passage of time. As soon as the objective world of reality is considered, the passage of time disappears like a ghost into the night.”

Paul Davies (1946) British physicist

Page 222, Cambridge University Press, ISBN 9780521291514.
Space and Time in the Modern Universe (1977)

World, Reality, Universe, Time

“I think the best thing about the picture is that we do feel for the Creature. We feel for him and his predicament and where he is and so on. I think that’s a very positive thing really. I like that we feel sympathy for the Creature.”

Julie Adams (1926–2019) American actress

Exclusive Interview With Julie Adams http://www.horrorsociety.com/2013/09/23/exclusive-interview-with-julie-adams-star-of-creature-from-the-black-lagoon/ (September 23, 2013)

Feeling, Thinking

“Idiots can do what I do. When I first started to do this [projecting photos on the canvas and painting them after having them traced in details with a piece of charcoal] in the 60's, people laughed. I clearly showed that I painted from photographs. It seemed so juvenile. The provocation was purely formal - that I was making paintings like photographs. Nobody asked about what was in the pictures. Nobody asked who my Aunt Marianne was. That didn't seem to be the point.”

Gerhard Richter (1932) German visual artist, born 1932

Richter's aunt had been murdered by the Nazis in the name of euthanasia, a crime for which his father-in-law from his first marriage, a Nazi doctor named Heinrich Eufinger, had been partially responsible. Richter painted a portrait of his aunt in 1965, based on an old photo. It was called 'Tante Marianne' / 9Aunt Marianne).
after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

People, Photo, Painting

“Well, you must now imagine my friend at my age or almost there. You must picture him growing gray, tired of life and convinced that he had at last discovered the secret of peace. At this time he met, while visiting some relatives in a country house, a mere girl of twenty, who was the image, the haunting image of her whom he had hoped to marry thirty years before. It was one of those strange resemblances which extend from the color of the eyes to the 'timbre' of the voice, from the smile to the thought, from the gestures to the finest feelings of the heart. I could not, in a few disjointed phrases describe to you the strange emotions of my friend. It would take pages and pages to make you understand the tenderness, both present and at the same time retrospective, for the dead through the living; the hypnotic condition of the soul which does not know where dreams and memories end and present feeling begins; the daily commingling of the most unreal thing in the world, the phantom of a lost love, with the freshest, the most actual, the most irresistibly naïve and spontaneous thing in it, a young girl. She comes, she goes, she laughs, she sings, you go about with her in the intimacy of country life, and at her side walks one long dead. After two weeks of almost careless abandon to the dangerous delights of this inward agitation imagine my friend entering by chance one morning one of the less frequented rooms of the house, a gallery, where, among other pictures, hung a portrait of himself, painted when he was twenty-five. He approaches the portrait abstractedly. There had been a fire in the room, so that a slight moisture dimmed the glass which protected the pastel, and on this glass, because of this moisture, he sees distinctly the trace of two lips which had been placed upon the eyes of the portrait, two small delicate lips, the sight of which makes his heart beat. He leaves the gallery, questions a servant, who tells him that no one but the young woman he has in mind has been in the room that morning.”

Paul Bourget (1852–1935) French writer

Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

Love, Life, Secret, Age

“When the people of the colonies were defending their liberties against the might of kings, they chose their banner from the design set in the firmament through all eternity. The flags of great empires of that day have gone, but the stars and stripes remain. It pictures a vision of a people whose eyes are turned to the rising dawn. It represents of the hope of a father for his posterity. It was never flaunted for the glory of royalty, but to be born under it is to be the child of a king, and to establish a home under it is to be the founder of a royal house. Alone of all flags, it expresses the sovereignty of the people which endures when all else passes away. Speaking with their voice, it has the sanctity of revelations. He who lives under it and disloyal to it is a traitor to the human race everywhere. What could be saved if the flag of the American nation were to perish?”

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

1920s, America and the War (1920)

People, Hope, Home, Star

“M. Révérony said immediately: "Most Holy Father, this is a child who wants to enter Carmel at fifteen, but the superiors are considering the matter at this moment." (The good pope is so old that one would say he is dead; I would never have pictured him like this.) The Holy Father said simply:"If God wills it, you will enter." [-]I was crying a lot when writing this letter; my heart is heavy. However, God cannot give me trials that are above my strength. He has given me the courage to bear this trial. I am the Child Jesus' little ball; if He wishes to break His toy, He is free. Yes, I will all that He wills.”

Thérèse of Lisieux (1873–1897) French Discalced Carmelite nun

Thérèse's account of the papal audience, November 20,1887
General Correspondence

God, Courage, Heart, Cry

“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

“Suppose we took a thousand negatives and made a gigantic montage: a myriad-faceted picture containing the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city – that would be my favorite picture.”

Berenice Abbott (1898–1991) American photographer

Popular Photography, February 1940.

Sadness, Past, Future

“Just like a picture is worth 1000 words, a camera phone is worth 1000 cell phones!”

Philippe Kahn (1952) Entrepreneur, camera phone creator

Speech at the firt Future Imaging conference in Monterrey, California.

“A certain scenario kept repeating itself. The people from the magazines would take two or three shots of the band. They’d start to pack up. And then they’d sort of take me off into a corner by myself. After about the thirtieth time that a photographer asked me to take my shirt off, I started to get the picture.”

Chris Cornell (1964–2017) American singer-songwriter, musician

Interview with Details Magazine, December 1996 https://pitchfork.com/features/article/10081-chris-cornell-searching-for-solitude/, Soundgarden Era

People, Time

“Speaking of that last contract signing reminds me of a good laugh I had at the expense of the newspaper boys. There were a couple of dozen of them sticking around when I signed, some of them fellows who had been traveling with the Yankees for several seasons; fellows whom I know intimately and well. Yet in their stories, every one of them wrote about me signing that contract with my left hand and some of the newspapers even ran pictures showing me signing left-handed! How they managed it I don't know—for as a matter of fact I write with my right hand now, and I always have. I'm left-handed in everything else I do, but when it comes to writing I'm as right-handed as any right-hander you ever saw. It just goes to show that people take a lot of things for granted. They don't observe things closely, particularly things about which they feel confident.”

Babe Ruth (1895–1948) American baseball player

"Chapter I," https://books.google.com/books?id=g0wbKn2OSNQC&pg=PA12 Babe Ruth's Own Book of Baseball (1928) by Ruth, as told to Ford Frick (uncredited), p. 12

People, Travel, Feeling, Confidence

“To the biologist the problem of socialism appears largely as a problem of size. The extreme socialists desire to run every nation as a single business concern. I do not suppose that Henry Ford would find much difficulty in running Andorra or Luxembourg on a socialistic basis. He has already more men on his pay-roll than their population. It is conceivable that a syndicate of Fords, if we could find them, would make Belgium Ltd. or Denmark Inc. pay their way. But while nationalization of certain industries is an obvious possibility in the largest of states, I find it no easier to picture a completely socialized British Empire or United States than an elephant turning somersaults or a hippopotamus jumping a hedge.”

J. B. S. Haldane book On Being the Right Size

"On Being the Right Size" in Possible Worlds (1928)

Men, Way, Business, Problem

“Nudity in a picture is such a delicate thing, and it is so rarely right. But it can be right if it's done by people with beautiful vision and if it becomes part of the melody of the situation. The body, after all, is a beautiful and secret thing.”

Nastassja Kinski (1961) German actress

As quoted in Denise Worrell (1989), Icons: Intimate Portraits.

People, Secret, Beauty, Parting

“Do not be cross with the child; you cannot afford it. If you are cultivating a plant, developing it into something finer and nobler, you must love it, not hate it; be gentle with it, not abusive; be firm, never harsh. I give the plants upon which I am at work in a test, whether a single one or a hundred thousand, the best possible environment. So should it be with a child, if you want to develop it in right ways. Let the children have music, let them have pictures, let them have laughter, let them have a good time; not an idle time but one full of cheerful occupation. Surround them with all the beautiful things you can. Plants should be given sun and air and the blue sky; give them to your boys and girls. …for all the years. We cannot treat a plant tenderly one day and harshly the next; they cannot stand it. Remember that you are training not only for to-day, but for all the future, for all posterity.”

Luther Burbank (1849–1926) American botanist, horticulturist and pioneer in agricultural science

The Training of the Human Plant (1907)

Love, Hate, Children, Beauty

“The sky is as much an essential part of the picture as any other part of it, and indeed, in very many instances, constitutes the key-note and important feature of the whole idea.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Clouds. Their use, and practical instructions as to how to photography them, p. 92

Idea, Parting

“Before my face the picture hangs,
That daily should put me in mind
Of those cold names and bitter pangs,
That shortly I am like to find:
But yet, alas! full little I
Do think hereon that I must die.”

Robert Southwell (1561–1595) English Jesuit

Source: Upon the Image of Death, Line 1; p. 136.

Thinking

“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

“A love of books, of holding a book, turning its pages, looking at its pictures, and living its fascinating stories goes hand-in-hand with a love of learning.”

Laura Bush (1946) First Lady of the United States from 2001 to 2009

As quoted in "The Gift of Books" in Biography Today : Profiles of People of Interest to Young Readers, Vol. 12, Issue 2 : Laura Bush by Joanne Mattern (2003), p. 17

Love, Books, Learning

“I had the company of monsieur Gibert. Such people see clearly, but they have the teacher's eye. As the train was taking us past Alexis' place a staggering subject for a picture came into view towards the east: St-Victoire [later Cezanne made series of paintings of Mont St. Victoire and the crags above Beaurecueil]. I said, 'What a splendid subject'; he replied, 'The lines are too symmetrical'. Referring to 'L'Assommoir' [a novel of Emile Zola ] about which, incidentally, he was the first person to speak to me, he said some very sound things, and praised it, but always from the point of view of technique.”

Paul Cézanne (1839–1906) French painter

Quote in Cézanne's letter to his friend Emile Zola, Aix-en-Provence, 14 April 1878; as quoted in Letters of the great artists – from Blake to Pollock"', Richard Friedenthal, Thames and Hudson, London, 1963, pp. 178-179
Quotes of Paul Cezanne, 1860s - 1870s

People, Teachers, Past, Painting

“For a man who is sensitive to nature, happiness consists in expressing nature. How infinitely happy, then, is the man who reflects nature like a mirror without being aware of it, who does the thing for love of it and not from any pretensions to take first place. This noble unself-consciousness is what we find in all truly great men, in the founders of the arts. I picture the great Poussin, in his retreat, delighting in the study of the human heart.... I picture Raphael in the arms of his mistress, turning from La Fornarina to paint his Saint Cecilia.... I am only too well aware that I am far not only from their divine spirit, but even from their modest simplicity…”

Eugène Delacroix (1798–1863) French painter

Quote in a letter to Delacroix' friend J. B. Pierret, 23 October 1818, from the Forest of Boixe; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and transl. Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 43
1815 - 1830

Love, Men, Art, Nature

“The picture of today's Iran in the world is terrible, comparing the past and now. I'm happy that few years ago at the time of Tehran's post-election unrest in 2009, the world for the first time in many years saw the true face of Iranians and both people inside the country and foreigners once again reminded themselves of Iran's glorious civilisation, history and art. I hope the situation changes and they can have the regime they deserve.”

Farah Pahlavi (1938) Empress of Iran

Former queen of Iran on assembling Tehran's art collection http://www.guardian.co.uk/world/2012/aug/01/queen-iran-art-collection, The Guardian, (August 1, 2012). Interviews

People, World, Hope, Art

“Happiness has to be felt like water. Joy has to be felt like food. What good is it to have a picture of the sun at night? What will it light up? Can you imagine somebody carrying a picture of the sun and holding it out in the dark? In the same way, you have to experience this experience within for yourself. Nothing else will do. This is a living experience for living people.”

Prem Rawat (1957) controversial spiritual leader

Abidjan, Ivory Coast, Africa, August 9, 1990
1990s

People, Food, Way, Imagination

“Paint upon a palette, delighting our eyes with soul-satisfying pictures, a treasure of well set jewels a sympathy with growing things, fashioned into a dream of beauty, a place of perfect rest and refreshment of mind and body. This sense of beauty is a gift of God.”

Gertrude Jekyll (1843–1932) garden designer, artist

Colour in the Garden

God, Beauty, Dreams, Soul

“When we have done our best, we also have to learn that we still need to rely on God. Our best – no matter how good – is incomplete if we leave God out of the picture.”

Ben Carson (1951) 17th and current United States Secretary of Housing and Urban Development; American neurosurgeon

Source: Think Big (1996), p. 146

God, Learning

“Present-day students are often puzzled at the apparent contradictions of Southern slavery. One hears, on the one hand, of the staid and gentle patriarchy, the wide and sleepy plantations with lord and retainers, ease and happiness; on the other hand one hears of barbarous cruelty and unbridled power and wide oppression of men. Which is the true picture? The answer is simple: both are true. They are not opposite sides of the same shield; they are different shields.”

W.E.B. Du Bois book The Negro

Source: The Negro (1915), Ch. XI: The Negro in the United States

Men, Happiness

“Your experience in the world of physical matter flows outward from the center of your psyche. Then you perceive this experience. exterior events, circumstances and conditions are meant as a kind of living feedback. Altering the state of the psyche automatically alters the physical circumstances. There is no other valid way of changing physical events. It might help if you imagine an inner living dimension within yourself in which you create, in miniature psychic form, all the exterior conditions that you know. Simply put, you do exactly this. Your thoughts, feelings and mental pictures can be called incipient exterior events, for in one way or another, each of these is materialized into physical reality.”

Jane Roberts (1929–1984) American Writer

Source: The Nature of Personal Reality (1974), p. 9-10, Session 613

World, Way, Feeling, Imagination

“I suspect this picture is pretty close to what fans were hoping for, and for their sake, I'm glad it's markedly better than the two that preceded it. But Revenge of the Sith is still crap.”

Stephanie Zacharek (1963) American film critic

Review http://www.salon.com/ent/movies/review/2005/05/18/star_wars_iii/index.html of Star Wars Episode III: Revenge of the Sith (2005)

Hope, Revenge

“I tell ya, my family were always big drinkers. When I was a kid, I was missing. They put my picture on a bottle of Scotch.”

Rodney Dangerfield (1921–2004) American actor and comedian

Source: It's Not Easy Bein' Me: A Lifetime of No Respect But Plenty of Sex and Drugs (2004), p. 21

Family

“I heard nothing from his excellence [Mr. Keiller bought a picture of 1000 pond and sent Israëls the money but no word about the picture]... I am sure he will be satisfied by it when he hears it is good. I have some practice in those matters of amateurs. The best pictures are the worst for them naturally. They have not the tools to understand it, but when they hear other saying it is fine, they make a high breast saying 'I' ordered that picture..”

Jozef Israëls (1824–1911) Dutch painter

Quote in a letter from The Hague, 19 Feb. 1886, to collector / friend Dr. John Forbes White in Aberdeen; as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, Bijlage 2., p. 363
Quotes of Jozef Israels, 1871 - 1900

Money, Understanding, Nature

“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

“Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures, and have an inclination for whatever is elegant; but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual.”

Ralph Waldo Emerson Music

1840s, Essays: Second Series (1844), The Poet

Beauty, Soul, Knowledge, Learning

“There was a time, and not so long ago, when one could score a success also here with a bit of irony, which compensated for all other deficiencies and helped one get through the world rather respectably, gave one the appearance of being cultured, of having a perspective on life, an understanding of the world, and to the initiated marked one as a member of an extensive intellectual freemasonry. Occasionally we still meet a representative of that vanished age who has preserved that subtle, sententious, equivocally divulging smile, that air of an intellectual courtier with which he has made his fortune in his youth and upon which he had built his whole future in the hope that he had overcome the world. Ah, but it was an illusion! His watchful eye looks in vain for a kindred soul, and if his days of glory were not still a fresh memory for a few, his facial expression would be a riddle to the contemporary age, in which he lives as a stranger and foreigner. Our age demands more; it demands, if not lofty pathos then at least loud pathos, if not speculation then at least conclusions, if not truth then at least persuasion, if not integrity then at least protestations of integrity, if not feeling then at least verbosity of feelings. Therefore it also coins a totally different kind of privileged faces. It will not allow the mouth to be defiantly compressed or the upper lip to quiver mischievously; it demands that the mouth be open, for how, indeed, could one imagine a true and genuine patriot who is not delivering speeches; how could one visualize a profound thinker’s dogmatic face without a mouth able to swallow the whole world; how could one picture a virtuoso on the cornucopia of the living world without a gaping mouth? It does not permit one to stand still and to concentrate; to walk slowly is already suspicious; and how could one even put up with anything like that in the stirring period in which we live, in this momentous age, which all agree is pregnant with the extraordinary? It hates isolation; indeed, how could it tolerate a person’s having the daft idea of going through life alone-this age that hand in hand and arm in arm (just like itinerant journeymen and soldiers) lives for the idea of community.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Source: 1840s, On the Concept of Irony with Continual Reference to Socrates (1841), p. 246-247

Life, Hate, Truth, Youth

“I am busy on a portrait of my self and my aunt and my two cousins, I will show it to you when you get back. I am doing it as if I were doing a picture. I've got to do it well, because I want to leave it as a momento... The older one is really a lovely thing, the younger one has the devil in her as well as the kindness of an angel. I am doing them with their black dresses and little white pinafores which suit them delightfully. I have ideas for the picture's background running through my head. I would like a certain gracefulness with a nobleness of feeling that I don't know how to describe.”

Edgar Degas (1834–1917) French artist

Quote in a letter (27 November, 1858) to Degas' friend and painter Gustave Moreau; as quoted in More unpublished Letters of Degas, Theodore Reff, Art Bulletin LI, No. 3., Sept. 1969, pp. 282-283
1855 - 1875

Love, Angels, Feeling, Idea

“I think much of the conflict in the world is directly the result of people's varying interpretations of reality, or perhaps you could term it the "distortions" in their lenses. The best one can do is to try to consume as much knowledge as possible, both from your experiences, and from the words of others, in order to try to form a complete picture of the world.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

People, World, Knowledge, Thinking

“I really have no claim to rank myself among fatalistic, materialistic, or atheistic philosophers. Not among fatalists, for I take the conception of necessity to have a logical, and not a physical foundation; not among materialists, for I am utterly incapable of conceiving the existence of matter if there is no mind in which to picture that existence; not among atheists, for the problem of the ultimate cause of existence is one which seems to me to be hopelessly out of reach of my poor powers. Of all the senseless babble I have ever had occasion to read, the demonstrations of these philosophers who undertake to tell us all about the nature of God would be the worst, if they were not surpassed by the still greater absurdities of the philosophers who try to prove that there is no God.”

Thomas Henry Huxley (1825–1895) English biologist and comparative anatomist

1870s, On the Hypothesis that Animals are Automata, and Its History (1874)

God, Nature, Problem, Reading

“My picture-poems are linguistic margins on visual atolls.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 250 (2003)

“There is a sort of waking nightmare that sets in sometimes when one has missed a sleep or two, a feeling that comes with extreme fatigue and a new sun, that the quality of the life around has changed. It is a fully articulate conviction that somehow the existence one is then leading is a branch shoot of life and is related to life only as a moving picture or a mirror — that the people, and streets, and houses are only projections from a very dim and chaotic past.”

F. Scott Fitzgerald (1896–1940) American novelist and screenwriter

"The Lees of Happiness"
Quoted, Tales of the Jazz Age (1922)

Life, People, Feeling, Sleep

“.. for most painters nowadays [1954] examination is self-examination – this is all that we are accustomed to – while the relation to the audience is a social matter. And it is our pictures, not ourselves, that live the social life and meet the public.”

Robert Motherwell (1915–1991) American artist

Source: 1950s, The painter and the audience' (1954), p. 106

Life

“Suppose you want to convert a bunch of pictures into icons. Suppose you know how to do that with one picture: you click on the file, "drag" it over to the icon-generating program, then "drop" it there. Repeat until thoroughly disgusted with the idiocy of the paradigm of direct manipulation. Suppose instead you were able to communicate your actual desire to the computer, in (gasp!) a language!”

Erik Naggum (1965–2009) Norwegian computer programmer

Re: RFC: Lisp/Scheme with less parentheses through Python-like significant indentation? http://groups.google.com/group/comp.lang.lisp/msg/308ecb00b29198ba (Usenet article). Usenet articles, Miscellaneous

Communication

“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

“His Blinky Palermo constructive pictures have remained in my memory because they particularly appeal to me, because I can't produce such a thing. I always found it very good how he made it and that he made it – this astonished me. There was an aesthetic quality which I loved and which I couldn't produce, but I was happy that such a thing existed in the world. In comparison, my own things seemed to me somewhat destructive, without this beautiful clarity.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 96, note 30

Love, World, Beauty, Memory

“Gentlemen on this floor and in the Senate, had repeatedly, during this discussion, asserted that slavery was a moral, political, and personal blessing; that the slave was free from care, contented, happy, fat, and sleek. Comparisons have been instituted between slaves and laboring freemen, much to the advantage of the condition of slavery. Instances are cited where the slave, having tried freedom, had voluntarily returned to resume his yoke. Well, if this be so, let us give all a chance to enjoy this blessing. Let the slaves, who choose, go free; and the free, who choose, become slaves. If these gentlemen believe there is a word of truth in what they preach, the slaveholder need be under no apprehension that he will ever lack bondsmen. Their slaves would remain, and many freemen would seek admission into this happy condition. Let them be active in propagating their principles. We will not complain if they establish Societies in the South for that purpose -- abolition societies to abolish freedom. Nor will we rob the mails to search for incendiary publications in favor of slavery, even if they contain seductive pictures, and cuts of those implements of happiness -- handcuffs, iron yokes and cat-o'-nine tails.”

Thaddeus Stevens (1792–1868) American politician

In Selected Papers of Thaddeus Stevens

Truth, Search, Cats, Freedom

“It was a custom with Apelles, to which he most tenaciously adhered, never to let any day pass, however busy he might be, without exercising himself by tracing some outline or other,—a practice which has now passed into a proverb. It was also a practice with him, when he had completed a work, to exhibit it to the view of the passers-by in his studio, while he himself, concealed behind the picture, would listen to the criticisms…. Under these circumstances, they say that he was censured by a shoemaker for having represented the shoes with one latchet too few. The next day, the shoemaker, quite proud at seeing the former error corrected, thanks to his advice, began to criticise the leg; upon which Apelles, full of indignation, popped his head out and reminded him that a shoemaker should give no opinion beyond the shoes, —a piece of advice which has equally passed into a proverbial saying.”

Pliny the Elder book Natural History

Book XXXV, sec. 84.
Naturalis Historia

Shoe, Error, Exercises, Business

“Let me close by reminding you of what Newton actually did on the day that he conceived G = k \frac{mm'}{r^2}. …Newton did not have any subsidies, grants, funds, Secret Service money. But he had the moon. He said, "… I cannot throw a ball round the world, but let me picture the moon as if it were a ball which has been flung around the world… How long will it take to go round the world?" …He knew the value of gravity at the earth's surface …but he did not know the value of the earth's gravity for the moon. He said, "Let us suppose that it is given by an inverse square law. Now, how long will it take the moon to go around?"”

Jacob Bronowski (1908–1974) Polish-born British mathematician

It comes out at twenty-eight days. As Newton said, "They agreed pretty nearly."
The Origins of Knowledge and Imagination (1978)

Money, Secret, World, Law

“A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it as well - she did this and then she did that; there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.”

Helen Frankenthaler (1928–2011) American artist

Quote by Barbara Rose, in Frankenthaler (New York: Harry N. Abrams, Inc. 1975, p. 85
1970s - 1980s

Beauty, Art, Thinking, Effort

“None of you knows what creativity means. To paint a picture, to write a poem? No! To recast one’s whole age, to impose upon it the stamp of one’s will, to fill it with beauty, to overwhelm it, to overpower it with one’s spirit.”

Christian Morgenstern (1871–1914) German author

cited in Zarathustra’s Children (2000), p. 178

Age, Beauty, Painting

“Summing up, Nanoscale Communication Networks is a demanding but also very interesting book, an ambitious primer. It is definitely a good starting point for further reading. The author guides the reader through all the aspects of nanonetworks, giving in most cases a clear description of his thinking process within transitions between equations. There are also many cross references between chapters and sections which give a broader view of the topic and help to memorize it. One can also find many pictures, diagrams and tables throughout this book in order to systematize the presented knowledge.”

Stephen F Bush

Book Reviews, REVIEWER: JAKUB PALIDER, NANOSCALE COMMUNICATION NETWORKS STEPHEN F. BUSH, ARTECH HOUSE, 2010, ISBN-13: 978-1-60807-003-9, HARDCOVER, 308 PAGES, IEEE Communications Magazine, August 2011.

Books, Communication, Knowledge, Thinking

“But of course these pictures are not shocking; good painting never is.”

Patrick Swift (1927–1983) British artist

Some Notes on Caravaggio (1956)

Painting

“Reader, look,
Not at his picture, but his book.”

Ben Jonson (1572–1637) English writer

To the Reader [On the portrait of Shakespeare prefixed to the First Folio] (1618), lines 9-10

Books

“Beyond the cloud-wrapt chambers of western gloom and Aethiopia's other realm there stands a motionless grove, impenetrable by any star; beneath it the hollow recesses of a deep and rocky cave run far into a mountain, where the slow hand of Nature has set the halls of lazy Sleep and his untroubled dwelling. The threshold is guarded by shady Quiet and dull Forgetfulness and torpid Sloth with ever drowsy countenance. Ease, and Silence with folded wings sit mute in the forecourt and drive the blustering winds from the roof-top, and forbid the branches to sway, and take away their warblings from the birds. No roar of the sea is here, though all the shores be sounding, nor yet of the sky; the very torrent that runs down the deep valley nigh the cave is silent among the rocks and boulders; by its side are sable herds, and sheep reclining one and all upon the ground; the fresh buds wither, and a breath from the earth makes the grasses sink and fail. Within, glowing Mulciber had carved a thousand likenesses of the god: here wreathed Pleasure clings to his side, here Labour drooping to repose bears him company, here he shares a couch with Bacchus, there with Love, the child of Mars. Further within, in the secret places of the palace he lies with Death also, but that dread image is seen by none. These are but pictures: he himself beneath humid caverns rests upon coverlets heaped with slumbrous flowers, his garments reek, and the cushions are warm with his sluggish body, and above the bed a dark vapour rises from his breathing mouth. One hand holds up the locks that fall from his left temple, from the other drops his neglected horn.”
Stat super occiduae nebulosa cubilia Noctis Aethiopasque alios, nulli penetrabilis astro, lucus iners, subterque cavis graue rupibus antrum it uacuum in montem, qua desidis atria Somni securumque larem segnis Natura locavit. limen opaca Quies et pigra Oblivio servant et numquam vigili torpens Ignauia vultu. Otia vestibulo pressisque Silentia pennis muta sedent abiguntque truces a culmine ventos et ramos errare vetant et murmura demunt alitibus. non hic pelagi, licet omnia clament litora, non ullus caeli fragor; ipse profundis vallibus effugiens speluncae proximus amnis saxa inter scopulosque tacet: nigrantia circum armenta omne solo recubat pecus, et nova marcent germina, terrarumque inclinat spiritus herbas. mille intus simulacra dei caelaverat ardens Mulciber: hic haeret lateri redimita Voluptas, hic comes in requiem vergens Labor, est ubi Baccho, est ubi Martigenae socium puluinar Amori obtinet. interius tecti in penetralibus altis et cum Morte jacet, nullique ea tristis imago cernitur. hae species. ipse autem umentia subter antra soporifero stipatos flore tapetas incubat; exhalant vestes et corpore pigro strata calent, supraque torum niger efflat anhelo ore vapor; manus haec fusos a tempore laevo sustentat crines, haec cornu oblita remisit.

Statius book Thebaid

Source: Thebaid, Book X, Line 84 (tr. J. H. Mozley)

Love, Death, God, Pleasure

“I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.”

Mark Rothko (1903–1970) American painter

1950's
Source: Interiors, Vol. 110, no 10, May 1951; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 172

Thinking, Painting

“When we describe a process, or make out an invoice, or photograph a tree, we create models; without them we would know nothing of reality and would be animals. Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.”

Gerhard Richter (1932) German visual artist, born 1932

in text for catalogue of documenta 7, Kassel, 1982; as cited on collected quotes on the website of Gerhard Richter: on 'Abstract paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/abstract-paintings-7 1980's

Reality, Tree, Animals

“You'd be surprised at the things people will do in order to get their names or pictures in the paper.”

Hunter S. Thompson (1937–2005) American journalist and author

Letter to Judy Stellings (18 November 1956), p. 30
1990s, The Proud Highway : The Fear and Loathing Letters Volume I (1997)

People

“This next song is about how sad I am. It's about all the sad stuff; just picture a depressed onion cutting itself.”

Bo Burnham (1990) American comedian, musician, and actor

what. (2013)

Sadness

“The whole question of pictures made to order is a darn peculiar form of merchandize. Buyers seem to like the tiresome MP blue, for one thing, and girls having a pleasant chat for another. They must look pleasant like Daybreak and Garden of Allah and not contemplative like Hilltop, Stars and Dreaming, which are not so popular …. There are countless artists whose shoes I'm not worthy to polish — whose prints would not pay the printer! … I'm beginning to doubt my judgment!”

Maxfield Parrish (1870–1966) American painter and illustrator

Letter to A. E. Reinthal (15 February 1929)

Dreams, Shoe, Girl, Star

“I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description [hard-core pornography]; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it, and the motion picture involved in this case is not that.”

Potter Stewart (1915–1985) American judge

Concurring, Jacobellis v. Ohio, 378 U.S. 184 (1964).

Intelligence, Understanding

“When I was a child, eight or ten years old, I made a solemn promise to God that, when I grew up, I would write him a hymn for the prayer-book. The vow has never been fulfilled. But I have painted a large number of pictures, and there must be more than thirty religious ones. I wonder if they will do instead.”

Emil Nolde (1867–1956) German artist

undated quotes

God, Books, Painting

“The idea for this picture came to me one winter's night as I was leaving La Scala. In the foreground there is a snow sweeper with a few couples, men in top hats and elegant ladies. I think that this canvas, which is totally unknown in Italy, is one of the paintings where I best represented the concept that I had the time about my art.”

Carlo Carrà (1881–1966) Italian painter

Source: 1940's, La mia Vita (1945), Carlo Carrà; as quoted in Futurism, ed. Didier Ottinger (2008), p. 154 - Carrà is refering in this quote to his painting 'Uscita dal teatro' ('Leaving the theater'), he made in 1909

Men, Art, Idea, Thinking

“Finnish forests: Let us remind the satellite pictures of the 1970’s winter in which the old forest appeared black and young forest and cut downs white. Already then the Finnish borders were like drawn on the map: White Finland between black Karelian and black Sweden. Finnish Forest Research Institute hicced up some time and then decided that the pictures are fake...”

Pentti Linkola (1932) Finnish ecologist

Can Life Prevail? (2004) Pentti Linkola Voisiko elämä voittaa - ja millä ehdoilla Tammi 2004 page 65 (Muistettakoon vaikka 1970-luvun talviset satelliittikuvat , joissa vrttunut metsä näkyi mustana ja ukot ja taimikot valkeina. Jo silloin Suomen rajat erottuivat ikään kuin ne olisivat karttaan piirretty.: valkea Suomi mustan karjalan ja mustan Ruotsin välissä. Metsäntutkimuslaitos nikotteli aikansa, kunnes se teki päätöksen, että kuvat ovat väärennettyjä. . . )

Appearance, Winter, Time

“For when we are interested in the beauty of a thing, the oftener we can see it the better; but when we are interested only by the story of a thing, we get tired of hearing the same tale told over and over again, and stopping always at the same point — we want a new story presently, a newer and better one — and the picture of the day, and novel of the day, become as ephemeral as the coiffure or the bonnet of the day. Now this spirit is wholly adverse to the existence of any lovely art. If you mean to throw it aside to-morrow, you can never have it to-day.”

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

On the Condition of Modern Art, lecture (1867).

Love, Beauty, Art

“But we're still left with structural or compositional elements. The problems aren't any different. I still have to compose a picture, and if you make an object [as Donald Judd does] you have to organize the structure. I don't think our work that radical in any sense because you don't find any really new compositional or structural element. I don't know if that exists. It's like the idea of the color you haven't seen before. Does something exist that's as radical as a diagonal that's not a diagonal? Or a straight line or a compositional element that you can't describe?”

Frank Stella (1936) American artist

quote from Stella, reacting in the artist-talk on Donald Judd who emphasis the 'whole' of an art work
Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 119

Color, Idea, Problem, Thinking

“Instead of looking at fragments, try to see the whole picture.”

Stephen R. Covey book First Things First

First Things First (1994), Disputed

“Vronsky, meanwhile, in spite of the complete realization of what he had so long desired, was not perfectly happy. He soon felt that the realization of his desires gave him no more than a grain of sand out of the mountain of happiness he had expected. It showed him the mistake men make in picturing to themselves happiness as the realization of their desires. For a time after joining his life to hers, and putting on civilian dress, he had felt all the delight of freedom in general, of which he had known nothing before, and of freedom in his love — and he was content, but not for long. He was soon aware that there was springing up in his heart a desire for desires — longing. Without conscious intention he began to clutch at every passing caprice, taking it for a desire and an object.”

Leo Tolstoy book Anna Karenina

Anna Karenina (1875–1877; 1878)

Love, Life, Men, Mountain

“For any picture, ask yourself what question or questions it might be answering. Since the picture could answer many, questions, we can decide what question we are interested in. The picture will, of course, suggest that some questions are likely to find answers in it. For instance, Owens's pictures of pantries and refrigerators clearly suggest that they will answer questions about what kinds of food the inhabitants of the houses store and presumably eat, while other pictures in Suburbia suggest that they will answer other questions about the housekeeping arrangements of these people.”

Howard S. Becker (1928) American sociologist

Howard Becker (1974). "Art as Collective Action." American Sociological Review 39:767-76.

People, Food, Question, Housing

“I stood in the middle of the room and began to study the pictures in the house. I had often looked at these ten- or even twenty-centimeter mountains which seemed to have been made sometimes of porridge, sometimes of bluish sago pudding, sometimes a mash of curds—sometimes even like an upturned bowl with Eiriks Glacier underneath; and I had never been able to understand where I was meant to be placed, because anyone who comes from the north and has lived opposite a mountain cannot understand a mountain in a picture in the south.</b”

Halldór Laxness book The Atom Station

Atómstöðin (The Atom Station) (1948)

Mountain, Understanding, Study, Housing

“Every evening after dinner, a new life began. There was no hurry. Some walked in the garden. Others smoked. About nine o’clock we made our way alone or in twos and threes to the Study House. Outdoor shoes came off and soft shoes or moccasins were put on. We sat quietly, each on his or her own cushion, round the floor in the centre. Men sat on the right, women on the left; never together.

Some went straight on to the stage and began to practice the rhythmic exercises. On our first arrival, each of us had the right to choose his own teacher for the movements. I had chosen Vasili Ferapontoff, a young Russian, tall, with a sad studious face. He wore pince-nez, and looked the picture of the perpetual student, Trofimov, in The Cherry Orchard. He was a conscientious instructor, though not a brilliant performer. I came to value his friendship, which continued until his premature death ten years later. He told me in one of our first conversations that he expected to die young.

The exercises were much the same as those I had seen in Constantinople three years before. The new pupils, such as myself, began with the series called Six Obligatory Exercises. I found them immensely exciting, and worked hard to master them quickly so that I could join in the work of the general class.”

John G. Bennett (1897–1974) British mathematician and author

Source: Witness: the Story of a Search (1962), p. 90–91 cited in: "Gurdjieff’s Temple Dances by John G. Bennett", Gurdjieff International Review, on gurdjieff.org; About Fontainebleau 1923

Life, Death, Women, Men

“Eve,” I said, “please stop for a minute. I think I finally get it. As you read to me aloud, the words become alive for me, and I can see pictures in my head. But when I try to read, all those little letters just confuse me. Because it’s the white of the page between the words that truly grab me. Do I make any sense? Reading, I do believe, is a very unnatural thing. But to listen to a story, like sitting around a campfire, is very natural.”

Victor Villaseñor (1940) American writer

Crazy Loco Love: A Memoir (2008)

Nature, Thinking, Sense, Reading

“Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share. Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings. In a picture every part will be visible and will play its appointed role, whether it be principal or secondary. Everything that is not useful in the picture is, it follows, harmful. A work of art must be harmonious in its entirety: any superfluous detail would replace some other essential detail in the mind of the spectator.”

Henri Matisse (1869–1954) French artist

1905 - 1910, Notes of a Painter' (1908)

Art, Feeling, Passion, Parting

“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

“In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece. When Michael began speaking about the character's inner life, it was clear that his own inner life was strong, as well. I then saw Cora in a completely different light because of Michael's orientation. It became easy to personalize her.”

Madeleine Stowe (1958) American actress

Mohican Press interview (2005)

Life, Light, Strong, Rage

“In the spring of 1920, General Motors found itself, as it appeared at the moment, in a good position. On account of the limitation of automotive production during the war there was a great shortage of cars. Every car that could be produced was produced and could be sold at almost any price. So far as any one could see, there was no reason why that prosperity should not continue for a time at least. I liken our position then to a big ship in the ocean. We were sailing along at full speed, the sun was shining, and there was no cloud in the sky that would indicate an approaching storm. Many of you have, of course, crossed the ocean and you can visualize just that sort of a picture yet what happened? In September of that year, almost over night, values commenced to fall. The liquidation from the inflated prices resulting from the war had set in. Practically all schedules or a large part of them were cancelled. Inventory commenced to roll in, and, before it was realized what was happening, this great ship of ours was in the midst of a terrific storm. As a matter of fact, before control could be obtained General Motors found itself in a position of having to go to its bankers for loans aggregating $80,000,000 and although, as we look at things from today's standpoint, that isn't such a very large amount of money, yet when you must have $80,000,000 and haven't got it, it becomes an enormous sum of money, and if we had not had the confidence and support of the strongest banking interests our ship could never have weathered the storm.”

Alfred P. Sloan (1875–1966) American businessman

Source: Alfred P. Sloan in The Turning Wheel, 1934, p. 185-6; Retrospective vein President Alfred P. Sloan, Jr., addressing the automobile editors of American newspapers at the Proving Ground at Milford, Michigan in 1927.

Money, War, Cars, Confidence

“And today many artists like myself refuse to be involved in some ideas. In painting – for me – no fooling-the-eye, no window-hole-in-the wall, no illusions, no representations, no associations, no distortions, no paint-caricaturing, no dream pictures of dripping, no delirium trimmings, no sadism or slashing, no therapy, no kicking-the-effigy, no clowning, no acrobatics, no heroics, no self-pity, no guilt.... no abstraction of everything, no nonsense, no involvements, no confusing painting with everything that is no painting.”

Ad Reinhardt (1913–1967) American painter

1940 - 1955
Source: Contemporary American Painting, University of Illinois, Urbana 1952, p. 226-227

Dreams, Fools, Idea, Painting

“The traditional picture of the blind old singer of Chios is largely made up of memories that go back to the time when a poet was a vates— a priestly and God-inspired seer. His blindness is merely the outward sign of the inward light that fills his being and enables him to see things others cannot see. This bodily infirmity expresses— as does the lameness of the divine smith Hephaestus—a second idea that was current in primitive times, that a maker of poems, ornaments and other products of handicraft can only come from the ranks of those who are unfit for war and foray. But apart from this feature, the legendary ‘Homer’ is an almost perfect example of the mythical poet who was still half-divine, a wonder-worker and a prophet. We find the clearest embodiment of this idea in Orpheus, the primeval singer who had his harp from Apollo and instruction in the art of song from the Muse herself; with his music he could move not merely men and beasts but even rocks and could reclaim Eurydice from the bonds of death.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome

Death, Men, God, War