Quotes about picture
page 14

“You get pictures in pre-season. You get pictures of fitness, you get pictures of attitude, you get pictures of mentality, you get pictures of systems and the way players play and you also get pictures of whether people can step up to the plate in the Premier League. I was getting all those pictures in the first half”

Phil Brown (footballer) (1959) English association football player and manager

28-Jul-2008 Hull City OWS
The pre-season friendly against Crewe provided a huge boost to Phil's picture collection.

People, Way, Season

“I went to see this picture [Raphael's painting 'Madonna della Sedia' which Renoir saw in Florence in 1882] just to have a good laugh – and I found myself in front of the most wonderfully free, solid, simple, alive painting it is possible to imagine – arms and legs of real flesh, and what a touching expression of maternal tenderness.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: 1880's, Renoir – his life and work, 1975, p. 161-162 : (1882), in a letter to Vollard

Imagination, Maternity, Painting

“So what are we saying?
Our Eden's a failure.
A made-up story to fit the picture-perfect world.
The one with "I do"s and "I love you."
And "we are made for each other."”

Sarah McLachlan (1968) Canadian musician, singer, and songwriter

Is forever over now?
U Want Me 2, written by Sarah McLachlan and Pierre Marchand
Song lyrics, Closer: The Best of Sarah McLachlan (2008)

Love, World, Failure, Perfection

“The new trade theory picture of the world looks something like this: Each country has, at any given time, a set of broad resources—land, skilled labor, capital, climate, general technological competence. These resources define up to a point the industries in which the country can hope to be competitive on world markets. […] But a country's resources do not fully determine what it produces, because the detailed pattern of advantage reflects the self-reinforcing virtuous circles, set in motion by the vagaries of history.”

Paul Krugman book Peddling Prosperity

Source: Peddling Prosperity (1994), Ch. 9 : The Economics of QWERTY

World, Hope, History, Time

“Vietnam, Laos, and Cambodia (the whole peninsula of Indochina) present a puzzling picture, enigmatic to most foreigners and especially so to Americans. The very name Vietnam evokes deep emotions and bitter memories in our countrymen. But the tendency to blame Vietnam for our domestic ills has no foundation in fact. The problems of urban decay, racial disharmony, drug abuse, and all the rest were bound to plague us, whether or not we became involved in Vietnam. Indeed, one can argue that in the 1950s, well before we became heavily involved in Vietnam, a sense of national direction and purpose appeared to be lacking in the United States. This book looks at the Vietnam War from the perspective of a senior military professional who held important positions of responsibility during the conflict. Among other things, I will seek to bring out the lessons we have learned or should have learned from the war, and their implications for the future. The severe impact of the war on our armed forces and its almost disastrous effect on the U. S. Army will receive special treatment.”

Bruce Palmer Jr. (1913–2000) United States Army Chief of Staff

Source: The 25-Year War: America's Military Role in Vietnam (1984), p. vii-viii

War, Books, Problem, Sense

“That's the terrible thing: the more one works on a picture, the more impossible it becomes to finish it.”

Alberto Giacometti (1901–1966) Swiss sculptor and painter (1901-1966)

Alberto Giacometti in: James Lord (1965), Giacometti Portrait, p. 11-12; as cited in: James Olney (1998), Memory and Narrative: The Weave of Life-Writing. p. 331

“I, proud of my rumour, for long I will talk
Of goddesses; and by picturings idolatrous,
From their shades unloose yet more of their girdles:
So when of grapes the clearness I've sucked,
To banish regret by my ruse disavowed,
Laughing, I lift the empty bunch to the sky,
Blowing into its luminous skins and athirst
To be drunk, till the evening I keep looking through.
Oh nymphs, we diverse MEMORIES refill.”

Stéphane Mallarmé (1842–1898) French Symbolist poet

The Afternoon of a Faun (1876)

Memory

“Inferiority is not banal or incidental even when it happens to women. It is not a petty affliction like bad skin or circles under the eyes. it is not a superficial flaw in an otherwise perfect picture. It is not a minor irritation, nor it is it a trivial inconvenience, an occasional aggravation, or a regrettable but (frankly) harmless lapse in manners. It is not a "point of view" that some people with soft skins find "offensive." it is the deep and destructive devaluing of a person in life, a shredding of dignity and self-respect, an imposed exile from human worth an human recognition, the forced alienation of a person from even the possibility of whole ness or internal integrity.”

Andrea Dworkin book Intercourse

Source: Intercourse (1987), Chapter 9

Life, Women, People, Affliction

“Anita Sarkeesian: For me, the big picture has always been culture change, and pop culture was just a vehicle and a medium through which cultural change can happen or it can be influenced by; so it’s not actually about video games. But it’s about video games, right?”

Anita Sarkeesian (1983) American blogger

[NIwtbdEcVrI, Fighting for a Cause (Creator)] (June 24, 2016), VidCon 2016 @34:06

Game, Change

“I have learned from experience that it is useful to begin by drawing one's picture clearly on a virgin canvas, first having noted the desired effect on a white or gray paper, and then to do the picture section by section, as immediately finished as one can, so that when it has all been covered there is very little to retouch. I have noticed that whatever is finished at one sitting is fresher, better drawn, and profits more from many lucky accidents, while when one retouches this initial harmonious glow is lost. I think that this method is particularly good for foliage, which needs a good deal of freedom.”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 239 – 240
1820 - 1850

Thinking, Freedom, Learning, Drawing

“Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.”

William Baziotes (1912–1963) American painter

Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69
1950s

Death, Beauty, Art, Painting

“Hitherto he has found in Western music, in Bach above all, everything he needs. Now he encounters something that is not in Bach, though there are intimations of it: a joyous yielding of the reasoning, comprehending mind to the dance of the fingers. He hunts through record shops, and in one of them finds an LP of a sitar player named Ustad Vilayat Khan, with his brother — a younger brother, to judge from the picture — on a veena, and an unnamed tabla player. He does not have a gramophone of this own, but he is able to listen to the first ten minutes in the shop. It is all there: the hovering exploration of tone-sequences, the quivering emotion, the ecstatic rushes. He cannot believe his good fortune. A new continent and all for a mere nine shillings! He takes the record back to his room, packs it away between sleeves of cardboard till the day he will able to listen to it again.”

J.M. Coetzee (1940) South African writer

Youth (2002)

Music, Dance

“No, the parallels are between modernism, late modernism, and socialist realism, of course. That's two sides of one coin. Both came of this idea of aristocrats, of people in power, imposing the culture on the people. A totally inhuman art. Modern art, and Pollock is the best example, is totally inhuman. Huge pictures for museums--now we call them museums; in Stalin times they were called palaces, but basically the same thing--which we rarely see and rarely visit. The sheer size of this painting, it's a totally inhuman scale. And there it can be typified…”

Alexander Melamid (1945) Russian artist

The search for a people's art: painting by the numbers, 1994

People, Art, Idea, Time

“Unnamed director: [The script is] too caustic.
Goldwyn: To hell with the cost. If it's a good picture, we'll make it.”

Samuel Goldwyn (1879–1974) American film producer (1879-1974).

Quoted by Alva Johnston in The Great Goldwyn http://books.google.com/books?id=xU9AAAAAIAAJ&q=%22too+caustic%22+%22To+hell+with+the+cost%22+%22If+it's+a+good+picture+we'll+make+it%22&pg=PA34#v=onepage (1937)

Hell

“But by way of consolation: it is valueless to paint premature things, what counts is to be a personality, or at least to become one. The domination of life is one of the basic conditions of productive expression. For me this is surely the case; when I am depressed I am unable even to think about it – and this holds true for painting, sculpture, tragedy, or music. But I believe that pictures alone will abundantly fill out this one life.”

Paul Klee (1879–1940) German Swiss painter

Quote (Bern, April 1902), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 442
1895 - 1902

Life, Music, Way, Thinking

“… as a matter of fact it is nice to paint a happy picture after a sad one. I think there is a kind of loneliness in a lot of them which I don't think about as the fact that I'm lonely and therefore I paint lonely pictures, but I like kind of lonely things anyhow; so if the forms express that to me, there is a certain excitement that I have about that.... What I try to do is to create the painting so that the overall thing has the particular emotion; not just the forms in it.... in other words, there's a particular static or heavy form that can have a look to it, an experience that translated through the form; so then it does have a mood. And when that is there, well then it becomes it becomes a painting whereas all the other pictures that have far more interesting shapes and so on, don't become that to me.”

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

Sadness, Mood, Thinking, Painting

“It turns out that certain picture shapes don't allow you to use different kinds of quantity distributions of color for different expressions. The quantities and configurations of colors are as important as the colors themselves. When I first started painting circles, I went fairly quickly to a 6-foot square module. I think de Kooning said in an interview or artist's discussion that he only wanted to make gestures as big as his arm could reach. It struck me that he was saying this physical size had to do with the expressive size of the pictures he wanted to make. And as far as I know, when I got to the 6-foot square size, it was right in terms of myself and wasn't too much of a field. Or it was a field, yet it was still physical. And that's why I used it for so long.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Color, Thinking, Painting

“I am well aware that the path of the biographer is beset with pitfalls, and that, for him, suppressio veri is almost necessarily suggestio falsi — the least omission may distort the whole picture.”

Stuart Dodgson Collingwood (1870–1937) English clergyman, headmaster, author

The Life and Letters of Lewis Carroll (1898) p. ix.

“And then [after the break with Clem [Greenberg], c. 1955] I investigated something which is related to what I talked about in 'Number 14', [of Jackson] Pollock, a side of me that --.... Well, I always use this word and I'm always dissatisfied with it because it's not what I mean at all, but a 'surreal' side. There are two words that are applied to me often that I think are very wrong but there aren't any other words that I can think of at the moment that would --. But one is 'lyrical' and the other is 'surreal'.... I understand what's meant when that word [lyrical] is used in relation to my pictures. And I don't think 'lyric' is a put down but 'lyric' never implies the profound enough.... In other words, 'lyric' can imply light, untouched, angelic, witty. Which are marvelous qualities. But 'light' can also imply simple, which is not a marvelous quality. I don't know..”

Helen Frankenthaler (1928–2011) American artist

quote about 'surreal' / 'lyrical', after 1955
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Angels, Understanding, Thinking, Light

“I think you just have to be comfortable in your skin. But, I'm a nudist in any case. I've never had a problem with my body and I don't really care what people think, so I have bottoms on and pretty much go topless, or also when we shoot - we did a lot of nude pictures today, too - it doesn't bother me in the slightest.”

Heidi Klum (1973) German model, television host, businesswoman, fashion designer, television producer, and actress

Discussing her ease with nude photo shoots, as quoted in Allure Magazine, May 2012

People, Problem, Thinking

“The comprehensive picture drawn here of Vyasa in the MBh includes his functions as seer, priest, ascetic, and spiritual preceptor. Of all the epic’s, Vyasa is the one who most closely corresponds to the idea of brahminhood promulgated by the dharma literature and the MBh’s Shanti Parvan- The section of the epic having the greater similarity to the dharma literature.”

Vyasa central and revered figure in most Hindu traditions

In pp.50-51.
Sources, Seer of the Fifth Veda: Kr̥ṣṇa Dvaipāyana Vyāsa in the Mahābhārata

Literature, Idea

“Most of the memex contents are purchased on microfilm ready for insertion. Books of all sorts, pictures, current periodicals, newspapers, are thus obtained and dropped into place. Business correspondence takes the same path. And there is provision for direct entry.”

Vannevar Bush book As We May Think

As We May Think (1945)

Books, Business

“Well! according to the sketch your picture [which Whistler sent him in a letter] seems well-composed, the lines of sky, sea, the position of the figures all that seems very, very well done[, ] on opening the letter it struck me immediately, an impression of decorative ornamentation which makes a good picture appeal to the eye as well - upside down and any other way up. Arrangement, layout, composition. etc - mysterious words harmonious laws - in no way conventional - needs of the Artist glory of the Raphael's Michelangelo's etc etc - for me a repetition a hesitation, a matter of feeling - which should also be a law, a mathematical thing, like form, like light, colour[. ] I find similarities with the colour method which works by opposing colours to arrive at a harmony that is to say to make a canvas a complete whole, to put into a small space an image with all the forces all the principles of nature - [instead of showing a part of it]..”

Henri Fantin-Latour (1836–1904) painter from France

quote from a letter of Fantin-Latour, Paris 7-14 October 1862 to James Whistler; from The Correspondence of James McNeill Whistler - Repository: Glasgow University Library http://www.whistler.arts.gla.ac.uk/correspondence/people/display/?cid=1075&nameid=Manet_E&sr=0&surname=&firstname=&rs=1 - System Number: 01075; Call Number: MS Whistler F 6.

Law, Way, Feeling, Mathematics

“Balla [his former art teacher in Italy] flabbergasted us because, not content with being involved in a Futurist campaign, as you can well imagine him doing, he launched himself into a complete transformation. He rejected all his works and all his working methods. He started work on four pictures of movement (one painting was his 'Girl running on a balcony'), which were still realist but incredible ahead of their time.... He confided this to w:Aldo Pallazzeschi: 'They (Balla's former - so much younger pupils Boccioni and Severini] did not want anything to do with me in Paris and they were right: they have gone much further than I, but I will work and I too will progress.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

In a letter to Gino Severini, Jan. 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Boccioni is referring in this quote to their common former teacher Balla who lived and worked that time in Paris
1913

Art, Confidence, Imagination, Girl

“I was in a bookstore, browsing through an old Life magazine, when I saw a picture of what the article called spontaneous human combustion. There were an old guy's legs and shoes, perfectly intact…then, right around his knee area, was just a pile of charred ashes. I was going through some turmoil in my life, both good and bad, and the image struck a chord, so…I wrote a song about it.”

Brandon Boyd (1976) American rock singer, writer and visual artist

On writing the song Pardon Me

Life, Shoe, Guy

“Anti-Americanism from abroad would not be such a problem if Americans were united in standing up for their own country. But in this country itself, there are those who blame America for most of the evils in the world. On the political left, many fault the United States for a history of slavery, and for continuing inequality and racism. Even on the right, traditionally the home of patriotism, we hear influential figures say that America has become so decadent… If these critics are right, then America should be destroyed. And who can dispute some of their particulars? This country did have a history of slavery and racism continues to exist. There is much in our culture that is vulgar and decadent. But the critics are wrong about America, because they are missing the big picture. In their indignation over the sins of America, they ignore what is unique and good about American civilization.”

Dinesh D'Souza (1961) Indian-American political commentator, filmmaker, author

Articles, 10 Things to Celebrate: Why I'm an Anti-Anti-American (June 2003)

World, Home, History, Problem

“I plunged in, and set up a Twitter account. My first problem was that there were already two Margaret Atwoods on Twitter, one of them with my picture. This grew; I gave commands; then all other Margaret Atwoods stopped together. I like to think they were sent to a nunnery, but in any case they disappeared. The Twitterpolice had got them. I felt a bit guilty.”

Margaret Atwood (1939) Canadian writer

"Atwood in the Twittersphere", The New York Review of Books (29 March 2010) http://blogs.nybooks.com/post/482335188/atwood-in-the-twittersphere

Problem, Thinking

“Micro-motion study, presented for the first time at this meeting, is a new and accurate method of recording and transmitting skill. Based upon the principles of motion study and time study, it makes possible simultaneous measurement of both time and path of motions. It produces an entirely different result from any of the methods attempted by its predecessors, in that it shows a measured difference in the time of day on each and every cinematograph picture, even when the pictures are taken at a rate much faster than ever considered in work where positive films are printed and projected upon the screen.”

Frank Bunker Gilbreth, Sr. (1868–1924) American industrial engineer

Source: The present state of art of industrial management, 1913, p. 1225

Study, Time

“There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of ever more horrible shapes. And the more nervous they are-the quicker to take fright-the more violent they pray that every storm will be … Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms-they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning; they did their best to depict these monsters just as they had appeared. Takeichi was right: they had dared to paint pictures of devils.”

Osamu Dazai book No Longer Human

The Second Notebook
No Longer Human

People, Nature, Appearance, Painting

“The "medium is the message" is one of the world's silliest remarks. The message is the message, and it doesn't matter whether you send it by e-mail, a note in a bottle or on a picture postcard. The book, or the poem, or the play is what counts and it doesn't matter if it's written with a pen on a long sheet of ruled paper, as I am writing now, or on the most highly developed word processor. No machine can help with the rhythms of your prose, even if it can spell better than you can.”

John Mortimer (1923–2009) English barrister, dramatist, screenwriter and author

Source: Where There's a Will: Thoughts on the Good Life (2003), Ch. 28 : Inventions and the Decline of Language

Books, World, Help

“I've already seen enough. Why would I want to go see a bunch of perverted pictures?”

Trent Lott (1941) United States Senator from Mississippi

On why he did not want to review more evidence during congressional hearings regarding the Abu Ghraib prison scandal, as quoted in The New York Times (2004).
2000s

“Literature, outside of the masters, has given us but one idea of the mistress, the subtle, calculating siren who delights to prey on the souls of men. The journalism and the moral pamphleteering of the time seem to foster it with almost partisan zeal. It would seem that a censorship of life had been established by divinity, and the care of its execution given into the hands of the utterly conservative. Yet there is that other form of liaison which has nothing to do with conscious calculation. In the vast majority of cases it is without design or guile. The average woman, controlled by her affections and deeply in love, is no more capable than a child of anything save sacrificial thought—the desire to give; and so long as this state endures, she can only do this. She may change—Hell hath no fury, etc.—but the sacrificial, yielding, solicitous attitude is more often the outstanding characteristic of the mistress; and it is this very attitude in contradistinction to the grasping legality of established matrimony that has caused so many wounds in the defenses of the latter. The temperament of man, either male or female, cannot help falling down before and worshiping this nonseeking, sacrificial note. It approaches vast distinction in life. It appears to be related to that last word in art, that largeness of spirit which is the first characteristic of the great picture, the great building, the great sculpture, the great decoration—namely, a giving, freely and without stint, of itself, of beauty.”

Theodore Dreiser book The Financier

Source: The Financier (1912), Ch. XXIII

Love, Life, Men, Beauty

“For those out on the water it provided a bizarre soundtrack to a sight that so many would only be able to describe as “like watching a moving picture.””

Steve Turner (1949) British writer

Source: The Band That Played On (Thomas Nelson, 2011), p. 194

Water

“You please me much by saying that no other fault [in the portrait Gainsborough recently made and sent] is to be found in your picture than the roughness of the surface; for that part being of use in giving force to the effect at a proper distance.... I urn [earn? ] much better pleased that they should spy out things of that kind than to see an eye half an inch out of its place or a nose out of drawing when view'd at a proper distance. I don't think it would be more ridiculous for a person to put his nose close to the canvas and say the colours smell offensive than to say how rough the paint lies; for one is just as material as the other with regard to hurting the effect and drawing of a picture. For Sir Godfrey Kneller used to tell them that pictures were not made to smell of..”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote in Gainborough's letter, March 1758 from Ipswich, to a correspondent in the neighbouring town of Colchester; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, pp. 20-21 1755 - 1769

Thinking, Parting, Hurt, Drawing

“April 1945. My unit was in Germany, and we were the ones who liberated Dachau. Thirty thousands breathing skeletons. You've seen the pictures, but the pictures don't tell you what it was like. You have to go there and smell it for yourself; you have to be there and touch it with your own hands. Human beings did it to human beings, and they did it with a clear conscience. That was the end of mankind […] I'm sure you've read the stories about how some of them couldn't stop eating. The starved ones. They'd thought about food for so long, they couldn't help it. They ate until their stomachs burst, and they died. Hundreds of them.”

Paul Auster book Oracle Night

Paul Auster, Oracle Night, New York: Henry Holt and Company, p. 92.
Oracle Night (2003)

Food, Reading, Help

“Modernist tasks and liberties have stirred up a canny diffidence among painters of the largest accomplishment when pressed to talk about their art. It appears unseemly, or naive, to have much to say about the pictures or to attach to them any explicit "program." No more theories expounding an ideal way of painting. And, as statements wither and with them counter-statements, hardly anything in the way of provocation either. Decorum suggests that artists sound somewhat trapped when being drawn out, and venturing a few cagey glimpses of intention.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

"About Hodgkin," from Howard Hodgkin Paintings edited by Michael Auping (1995), p. 105,

Art, Way, Appearance, Painting

“The sublimity of color in Hodgkin's pictures can be thought of as, first of all, expressive of gratitude — for the world that resists and survives the ego and its discontents.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

"About Hodgkin," from Howard Hodgkin Paintings (1995), p. 109

World, Color, Gratitude

“When we say expanded cinema we actually mean expanded consciousness. Expanded cinema does not mean computer films, video phosphors, atomic light, or spherical projections. Expanded cinema isn't a movie at all: like life it's a process of becoming, man's ongoing historical drive to manifest his consciousness outside of his mind, in front of his eyes. One no longer can specialize in a single discipline and hope truthfully to express a clear picture of its relationships in the environment. This is especially true in the case of the intermedia network of cinema and television, which now functions as nothing less than the nervous system of mankind.”

Gene Youngblood book Expanded Cinema

Preface
Expanded Cinema, 1970

Life, Hope, Light

“Those who try to combat the production of shoddy pictures are enemies of the best art today. Those woodland lakes in a thousand sitting-rooms with gold-tinted wallpaper belong to the profoundest inspirations of art. It always feels tragic to see people labouring to saw off the branch they are sitting on.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

People, Art, Feeling

“The original 1954 Japanese film, Gojira was iconic, and only made a couple mistakes of any significance. (1)They killed him in the end, and we saw his body turned to skeleton. Not the best way to begin 60 years worth of sequels. (2) Godzilla was depicted as a dinosaur, and was associated with living trilobites. Even if there was some sort of ‘realm that time forgot’ out in the Pacific somewhere, Trilobites were already extinct before the first dinosaurs, and Godzilla was clearly no dinosaur. The conceptual artists reportedly referenced illustrations of dinosaurs, but that’s not what they rendered. All bi-pedal dinosaurs [Therapods] were digigrade, walking on their toes, like birds, and usually only three or four digits. Godzilla was plantigrade and pentadactyle, (having five digits and walking on the whole foot) just like lizards. It even looks like a lizard, apart from the fact that no reptile has an actual nose or external ears. In a sense, what Toho pictures created was actually an oriental dragon. These tend to mix reptilian and mammalian traits. Amusingly in 1954, Toho made a giant lizard and called it a dinosaur. In 1998, Tristar re-designed Godzilla as a dinosaur, but called it a lizard. Of course that wasn’t the only thing Tristar did wrong. They tried to ruin the monster completely. They took away the only thing that worked in decades of sequels, the look of the monster itself. Then they took away everything that made Godzilla appealing to Kaiju fans, then they tied it down and shot it. Such disrespect. If you’re going to make a movie that already has a fan-base, and they are the ones who will decide whether your film will pay off, respect those fans and the story they’re paying to see.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Patheos, Weighing in on Godzilla http://www.patheos.com/blogs/reasonadvocates/2014/06/08/weighing-in-on-godzilla/ (June 8, 2014)

Way, Bird, Sense, Time

“The louder a sound is, the more we recognize it as being near, so the louder the "tone" of objects that is, the blacker or whiter the nearer they seem; and so if in our picture we wish to give a sense of distance, we must see that the darkest shadows and highest lights are in the foreground : and because we may not be able to materially alter things as the undiscriminating process gives them to us, we must seek for and select those scenes, those subjects, in which this arrangement of highest and deepest tones do come in the foreground, and then take care that our process renders them with fidelity, so that we may not lose the sense of their nearness or the feeling of greater distance of other planes which it is intended they shall give.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 44-45

Feeling, Sense, Light

“Art is limitation…. The most beautiful part of every picture is the frame.”

G. K. Chesterton book Tremendous Trifles

Tremendous Trifles (1909)

Beauty, Art, Parting

“Christian faith is a grand cathedral, with divinely pictured windows. Standing without you see no glory, nor can possibly imagine any. Nothing is visible but the merest outline of dusky shapes. Standing within all is clear and denned; every ray of light reveals an army of unspeakable splendors.”

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

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 134.

Faith, Imagination, Light

“There is no more perfect picture on the earth, or within the imagination of man, than a mother holding in her thrilled and happy arms a child, the fruit of love.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

The trial of Charles B. Reynolds for blasphemy (1887)

Love, Imagination, Perfection, Happiness

“I make a little mystique for myself. Since I have no preference or so-called sense of color, I could take almost everything that could be some accident of a previous painting. Or I set out to make a series. I take, for instance, some pictures where I take a color, some arbitrary color I took from some place. Well, this is gray maybe, and I mix the color for that, and then I find out that when I am through with getting the color the way I want it, I have six other colors in it, to get that color; and then I take those six colors and I use them also with this color. It is probably like a composer does a variation on a certain theme. But it isn't technical, it isn't just fun.”

Willem de Kooning (1904–1997) Dutch painter

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 50.
1960's

Color, Way, Sense, Painting

“I saw standing against the great stone pillar — on more red plush — a tall, slim boy in evening dress — so much slimmer, so much taller, so much more poised than I expected. A very refined face, not at all like those grinning 'Lindy' pictures — a firm mouth, clear, straight blue eyes, fair hair, and nice color. Then I went down the line very confused and overwhelmed by it all. He did not smile — just bowed and shook hands.”

Anne Morrow Lindbergh (1906–2001) American aviator and author

On first meeting Charles.
Bring Me a Unicorn (1971)

Smile, Color, Boy

“The Prime Minister spent a lot of time painting to you a lurid picture of what would happen under a Labour Government in pursuit of what he called a Continental conception. He has forgotten that Socialist theory was developed by Robert Owen in Britain long before Karl Marx. He has forgotten that Australia, New Zealand, whose peoples have played so great a part in the war, and the Scandinavian countries have had Socialist Governments for years, to the great benefit of their peoples, with none of those dreadful consequences…When he talks of the danger of a secret police…he forgets that these things were actually experienced in this country only under the Tory Government of Lord Liverpool in the years of repression when the British people who had saved Europe from Napoleon were suffering deep distress. He has forgotten many things, including, when he talks of the danger of Labour mismanaging finance, his own disastrous record at the Exchequer over the gold standard.”

Clement Attlee (1883–1967) Former Prime Minister of the United Kingdom

Broadcast (5 June 1945), quoted in The Times (6 June 1945), p. 2. Churchill had claimed in broadcast that a Labour government would have to rely on a Gestapo to carry out socialist policies
Leader of the Opposition

War, People, Secret, Suffering

“I had on Friday a long visit from Mr. --- alone; but my pictures do not come into his rules of whims of the art, and he said I had "lost my way." I told him that I had, perhaps other notions of art than picture admirers have in general. I looked on pictures as 'things to be avoided,' connoisseurs looked on them as things to be 'mitated'; and that, too, with such a defence and humbleness of submission, amounting to a total prostration of mind and original feeling, as must serve only to fill the world with abortions… But he was very agreeable, and endured the visit, I trust, without the usual courtesies of life being violated. What a sad thing it is that his lovely art is 'so wrested to its own destruction!' Used only to blind our eyes, and to prevent us from seeing the sub shine — the fields bloom — the tree blossom — and from hearing the foliage rustle; while old — black — rubbed out and dirty canvases take the place of God's own works.”

John Constable (1776–1837) English Romantic painter

Letter to Rev. John Fisher (2 April 1833), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 45
1830s

Love, Life, God, World

“I've loved not being looked at so much since dyeing my hair dark for my part in Resident Evil: Apocalypse. With my normal blondey- brown colour, I get stared at so much, so I feel quieter, more low- key. It's like being undercover, as even friends of mine haven't recognised me. It was quite difficult to get used to. I would see a picture of someone blonde in a Polaroid or shop window and think: "Don't I look brilliant?" But then it wouldn't be me. But it does mean that I can wear brighter colours, as well as brighter lipsticks than usual. I've just done a shoot where I was wearing bright red lipstick - although that did feel a bit Eighties and weird, as if I were a Robert Palmer extra.”

Sienna Guillory (1975) British actress

How do I look? Sienna Guillory Actress, age 28 Article http://findarticles.com/p/articles/mi_qn4158/is_20040131/ai_n9686748 The London Independent. January 21, 2004.

Love, Feeling, Thinking, Evil

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

World, Feeling, Flowers, Sense

“As a result of changes which, over the last century, have modified our empirically based pictures of the world and hence the moral value of many of its elements, the "human religious ideal" inclines to stress certain tendencies and to express itself in terms which seem, at first sight, no longer to coincide with the "christian religious ideal."”

Pierre Teilhard De Chardin (1881–1955) French philosopher and Jesuit priest

Preface, p. 43
The Divine Milieu (1960)

World, Change

“You can draw any kind of picture you want on a clean slate and indulge your every whim in the wilderness in laying out a New Delhi, Canberra, or Brasilia, but when you operate in an overbuilt metropolis, you have to hack your way with a meat ax.”

Robert Moses (1888–1981) American urban planner

Quoted in Robert Caro, The Power Broker (1974), p. 849

Way, Drawing

“In Hanover I built, before Hitler's time, a studio called Merzbau. This has been reproduced very much, also in the book 'Dada, Surrealism, Fantastic Art' of the Museum of Modern Art N. Y. I would like to go to Germany for restoring the Merzbau... Could I come with you to an agreement that you give me for this purpose some money? For example that I give you some pictures for the money and use it for restoring the studio... Or would you prefer that you own with me half and half?..”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 48 : in a letter (30 April 1946) to Oliver Kaufmann, (department of Painting and Sculpture of the MOMA, New York).

Money, Books, Art, Time

“Because psychoanalysis emerged as a medical specialty concerned with the healing of the sick, it focused its attention on the pathological processes arising from the disruption of the adaptive capacities, and this subject matter was taken to be the totality of significant information concerning the structure of the personality. The diagnosis and treatment of mental illness is, however, a poor basis for the empiricism which a basic science requires. Mental illness, when it is seen in terms of the symptoms and syndromes which come to the attention of the psychotherapist, presents a picture of the personality which is readily fragmented and distorted out of proportion.”

Paul Rosenfels (1909–1985) American sociologist

8. Psychotherapy and Social Welfare
Love and Power: The Psychology of Interpersonal Creativity (1966)

Science, Personality

“There are cultures that can only picture their origins and not their ends.
Some are obsessed by both.
Two other positions are possible: only picturing one's end - our own culture; picturing neither beginning nor end - the coming culture.”

Jean Baudrillard (1929–2007) French sociologist and philosopher

Source: 1980s, Cool Memories (1987, trans. 1990), Chapter 1

“If we paint the phases of a riot, the crowd bustling with uplifted fists and the noisy onslaughts of cavalry are translated upon the canvas in sheaves of lines corresponding with all the conflicting forces, following the general laws of violence of the picture... These force-lines must encircle and involve the spectator so that he will in a manner be forced to struggle himself with the persons in the picture.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Source: 1912, Les exposants au public', 1912, p. 8.

Law, Painting, Personality

“I don't sit at the same table with people like Sisi. They invited us to a dinner at the same table at the UN General Assembly. I did not attend that dinner. Next day, they did the same, I did not attend again. Why? Because that picture would be a black stain for me in the history books. It is impossible for me to sit at the same table with a coup leader. The world knows our attitude on the issue.”

Abdel Fattah el-Sisi (1954) Current President of Egypt

Turkish President Recep Tayyip Erdogan as reported by Anadolu Agency on 3 June 2015 http://aa.com.tr/en/politics/erdogan-did-not-attend-un-dinner-to-avoid-egypts-sisi/40683 About

People, Books, World, History

“I'm projected as an ambulance chaser, but I'm more the ambulance. People call me because they know I will come.… I have never fought a case where they didn't ask me to come. People have this picture like I'm sitting up in bed at night with a walkie-talkie. "You hear anything? Oh, let's run! It's Virginia today!"… Every victim calls us.… "Who put Sharpton in charge?"”

Al Sharpton (1954) American Baptist minister, civil rights activist, and television/radio talk show host

The victim!
Interview by David Shankbone (3 December 2007).

People, Night

“The fundamental materials from which we construct our picture of the universe may appear in different shapes, but there is really very little discontinuity between what seem at first sight very different views.”

J. R. Partington (1886–1965) British chemist

Introduction
Higher Mathematics for Chemical Students (1911)

Universe, Appearance

“Let the picture imitate nothing; let it nakedly present its raison d'être. We should indeed be ungrateful were we to deplore the absence of all those things flowers, or landscape, or faces whose mere reflection it might have been. Nevertheless, let us admit that the reminiscence of natural forms cannot be absolutely banished; not yet, at all events. An art cannot be raised to the level of a pure effusion at the first step.”

Jean Metzinger (1883–1956) French painter

Du Cubisme (1912)

Art, Flowers, Nature

“One has been led to the conception of electrons, i. e. of extremely small particles, charged with electricity, which are present in immense numbers in all ponderable bodies, and by whose distribution and motions we endeavor to explain all electric and optical phenomena that are not confined to the free ether…. according to our modern views, the electrons in a conducting body, or at least a certain part of them, are supposed to be in a free state, so that they can obey an electric force by which the positive particles are driven in one, and the negative electrons in the opposite direction. In the case of a non-conducting substance, on the contrary, we shall assume that the electrons are bound to certain positions of equilibrium. If, in a metallic wire, the electrons of one kind, say the negative ones, are travelling in one direction, and perhaps those of the opposite kind in the opposite direction, we have to do with a current of conduction, such as may lead to a state in which a body connected to one end of the wire has an excess of either positive or negative electrons. This excess, the charge of the body as a whole, will, in the state of equilibrium and if the body consists of a conducting substance, be found in a very thin layer at its surface.
In a ponderable dielectric there can likewise be a motion of the electrons. Indeed, though we shall think of each of them as haying a definite position of equilibrium, we shall not suppose them to be wholly immovable. They can be displaced by an electric force exerted by the ether, which we conceive to penetrate all ponderable matter… the displacement will immediately give rise to a new force by which the particle is pulled back towards its original position, and which we may therefore appropriately distinguish by the name of elastic force. The motion of the electrons in non-conducting bodies, such as glass and sulphur, kept by the elastic force within certain bounds, together with the change of the dielectric displacement in the ether itself, now constitutes what Maxwell called the displacement current. A substance in which the electrons are shifted to new positions is said to be electrically polarized.
Again, under the influence of the elastic forces, the electrons can vibrate about their positions of equilibrium. In doing so, and perhaps also on account of other more irregular motions, they become the centres of waves that travel outwards in the surrounding ether and can be observed as light if the frequency is high enough. In this manner we can account for the emission of light and heat. As to the opposite phenomenon, that of absorption, this is explained by considering the vibrations that are communicated to the electrons by the periodic forces existing in an incident beam of light. If the motion of the electrons thus set vibrating does not go on undisturbed, but is converted in one way or another into the irregular agitation which we call heat, it is clear that part of the incident energy will be stored up in the body, in other terms [words] that there is a certain absorption. Nor is it the absorption alone that can be accounted for by a communication of motion to the electrons. This optical resonance, as it may in many cases be termed, can likewise make itself felt even if there is no resistance at all, so that the body is perfectly transparent. In this case also, the electrons contained within the molecules will be set in motion, and though no vibratory energy is lost, the oscillating particles will exert an influence on the velocity with which the vibrations are propagated through the body. By taking account of this reaction of the electrons we are enabled to establish an electromagnetic theory of the refrangibility of light, in its relation to the wave-length and the state of the matter, and to form a mental picture of the beautiful and varied phenomena of double refraction and circular polarization.
On the other hand, the theory of the motion of electrons in metallic bodies has been developed to a considerable extent…. important results that have been reached by Riecke, Drude and J. J. Thomson… the free electrons in these bodies partake of the heat-motion of the molecules of ordinary matter, travelling in all directions with such velocities that the mean kinetic energy of each of them is equal to that of a gaseous molecule at the same temperature. If we further suppose the electrons to strike over and over again against metallic atoms, so that they describe irregular zigzag-lines, we can make clear to ourselves the reason that metals are at the same time good conductors of heat and of electricity, and that, as a general rule, in the series of the metals, the two conductivities change in nearly the same ratio. The larger the number of free electrons, and the longer the time that elapses between two successive encounters, the greater will be the conductivity for heat as well as that for electricity.”

Hendrik Lorentz (1853–1928) Dutch physicist

Source: The Theory of Electrons and Its Applications to the Phenomena of Light and Radiant Heat (1916), Ch. I General principles. Theory of free electrons, pp. 8-10

Beauty, Way, Travel, Communication

“Of course I constantly despair at my own incapacity, at the impossibility of ever accomplishing anything, of painting a valid, true picture or even knowing what such a thing ought to look like. But then I always have the hope that, if I persevere, it might one day happen. And this hope is nurtured every time something appears, a scattered, partial, initial hint of something which reminds me of what I long for, or which conveys a hint of it – although often enough I have been fooled by a momentary glimpse that then vanishes, leaving behind only the usual thing.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1985; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 1980's

Hope, Fools, Appearance, Time

“There were no clouds, the sun was going down in a limpid, gold-washed sky. Just as the lower edge of the red disk rested on the high fields against the horizon, a great black figure suddenly appeared on the face of the sun. We sprang to our feet, straining our eyes toward it. In a moment we realized what it was. On some upland farm, a plough had been left standing in the field. The sun was sinking just behind it. Magnified across the distance by the horizontal light, it stood out against the sun, was exactly contained within the circle of the disk; the handles, the tongue, the share — black against the molten red. There it was, heroic in size, a picture writing on the sun.”

Willa Cather book My Ántonia

Book II, Ch. 14
My Antonia (1918)

Light, Appearance, Sun

“Eighty percent of a picture is writing, the other twenty percent is the execution, such as having the camera on the right spot and being able to afford to have good actors in all parts.”

Billy Wilder (1906–2002) American filmmaker

As quoted in The New Hollywood : American Movies in the '70s (1975) by Axel Madsen

Parting

“Slowly but surely I began to see the pattern of questions: from questions that Mr. Gilmer did not deem sufficiently irrelevant or immaterial to object to, Atticus was quietly building up before the jury the picture of the Ewell's home life.”

Harper Lee book To Kill a Mockingbird

Pt. 2, ch. 18
Jean Louise (Scout) Finch
To Kill a Mockingbird (1962)

Life, Home, Question

“If you've ever wondered what someone who's horny enough to pay a bunch of adolescents $5000 in cash in exchange for some action looks like, take a good look at Ms. Walker's picture. Three words: battery operated dildo. Or if you happen to be a stickler for brevity like I am, just one word: cucumber. Because, damn.”

Maddox (1978) American internet writer

How to spot a pedophile http://www.thebestpageintheuniverse.net/c.cgi?u=spot_the_pedo. The Best Page in the Universe

“If you were to really hate and dislike a picture with all your heart, so that you could not bear to see or hear of it, how would you like it if someone insisted on getting to know and honor you through such a hated, horrible book? … And God says that he does not like any image which we make, and … that he hates and despises all who love images.”

Andreas Karlstadt (1486–1541) German theologian

Source: On the Removal of Images (1522), p. 109

Love, God, Hate, Books

“Do you consider, my dear maggotty sir [cosy-name for his friend], what a deal of work history pictures require to what little dirty subjects of coal horses and jackasses and such figures as I fill up with; no, you don't consider anything about that part of the story... But to be serious (as I know you love to be), do you really think that a regular composition in the Landskip [landscape] way should ever be filled with History, or any figures but such as fill a place (I won't say stop a gap) or create a little business for the eye to be drawn from the trees in order to return to them with more glee.”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote from Gainsborough's letter to his friend William Jackson of Exeter, from Bath 23 Aug. 1767; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 379 (Appendix A - Letter I) 1755 - 1769

Love, Way, History, Business

“Formerly it frequently happened to me that when questioned regarding a picture I simply did not know what it represented. I had not seen the subject, so to say. Now I have also included the content so that I know most of the time what is represented. But this only supports my experience that what matters in the ultimate end is the abstract meaning of harmonization”

Paul Klee (1879–1940) German Swiss painter

note from a letter, 1903
Quote from a letter (1903), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 443
1903 - 1910

Question, Support, Time

“I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture.”

Per Kirkeby (1938–2018) Danish artist

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Color, Feeling, Fashion, Nature

“I don't think there is any harm in it, but I tell you, there are demons and there are evil people in the world, and you post a picture like that and some cultist gets hold of it or a coven and they begin muttering curses against an unborn child. […] You never know what somebody's going to do.”

Pat Robertson (1930) American media mogul, executive chairman, and a former Southern Baptist minister

2015-02-16
Pat Robertson
The 700 Club
Television, quoted in * 2015-02-17
Pat Robertson: Satanic Covens Use Facebook To Curse Your Family
Brian
Tashman
Right Wing Watch
http://www.rightwingwatch.org/content/pat-robertson-satanic-covens-use-facebook-curse-your-family
Answering a viewer question from Cynthia: "Young parents now regularly post fetal ultrasound photos as their Facebook photo. From a spiritual point of view is there any harm in doing this?"

People, World, Thinking, Evil

“What wonderful things [Renoir is reacting on Corot's painting 'Interior of Chartres Cathedral' and Delacroix's 'Interior of M. de Mornay’s house', – he saw in 1919 from his wheelchair, in the reopened painting-rooms of the Louvre]. There isn’t a single big picture worth any more than these two little ones... The Director [of the Louvre] was so charming to me. I wish I could have thanked him properly. If you meet him, tell him how much I enjoyed my visit. If I'd presented myself at the Louvre in my wheelchair thirty years ago, they'd have shot me out fast enough! You see, one has to live a long time to see such changes. I've been one of the lucky ones.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

December 1919, Renoir died
late quote of Renoir, c. 1919, in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 237
after 1900

Change, Time, Painting, Housing

“It's not possible to forget pictures. Anyone who works in them thinks of them constantly.”

Irene Dunne (1898–1990) American actress

How To Get Along In Hollywood (1948)

Thinking, Forgetting

“…the purpose of a picture is not veracity to fact so much as truthfulness to idea; that is to say, it is not a question of what eye sees nor even what the brain imagines, but it is a question of what kind of production best awakens in the mind of the beholder the ideas which the maker of the picture desires him to receive.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, The consideration of some examples of sharp and suppressed definition, p. 37

Truth, Imagination, Idea, Question

“The computer makes it posible to create a central information centre of all human achievements; and for any individual, from the comfort of his own home, to interrogate that information. For example, you would like to see a picture of the tallest horse? Then before your last finger clicks the last button that photograph will be up on your screen, in your own home.”

Owain Owain (1929–1993) Welsh novelist, short story writer and poet

Home, Horse

““I’m starting to get the picture.”
“If you can say it so calmly, then you haven’t.””

Sarah Zettel (1966) American writer

Source: Bitter Angels (2009), Chapter 11 (p. 155)

“I can't speak or write German, but I'am overjoyed because I have bought one of your pictures. Now it is in me. I write music. You are my teacher.”

John Cage (1912–1992) American avant-garde composer

Quote from his letter to Jawlensky, early Februari 1935; as cited in 'The shape of the Future 3: Art' in Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists, by Kay Larson, Penguin 2012, p. unknown
Cage bought one of the small 'Head' paintings of Jawlensky, via his art-agent Galka E. Scheyer who showed Cage some paintings of Jawlensky early 1935, and sold his choice very cheap for 25 dollars; Cage was then 25 years old and strongly inspired by images, as he told Scheyer and wrote Jawlensky
1930s

Music, Teachers

“Speaking purely for myself, I can say that it was my very acute feeling for the matière, for the substance of painting, which pushed me into thinking about the possibilities of the medium. I wanted to create a kind of substance by means of brush-work. But that is the kind of discovery which one makes gradually, though once a beginning had been made other discoveries follow. Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures. For I suddenly saw the extent to which colour is related to the substance... So my great delight was the 'material' character which I could give to my pictures by introducing these extraneous elements. In short, they provided me with a means of getting further away from idealism in 'representing' the things with which I was concerned.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1921 - 1945, p. 76 - quote of Braque from 'Cahiers d'art', 1954, ed. Dora Vallier

Feeling, Thinking, Painting

“My position on pornography is quite simple. You can argue about Penthouse or Playboy or things of that ilk. But child pornography, a picture of a child engaged in a sexual act, is a photograph of a crime and you cannot argue about that. It is, per se, illegal, illicit and immoral. It is unfortunate that my work is taken up by people with whom I am not allied.”

Andrew Vachss (1942) American writer and lawyer

1988 interview with Andrew Vachss, published in the January '89 issue of The Face

People

“Just because Charlie and I can clearly see dramatic growth ahead for an industry does not mean we can judge what its profit margins and returns on capital will be as a host of competitors battle for supremacy. At Berkshire we will stick with businesses whose profit picture for decades to come seems reasonably predictable. Even then, we will make plenty of mistakes.”

Warren Buffett (1930) American business magnate, investor, and philanthropist

1994 Chairman's Letter http://www.berkshirehathaway.com/letters/1994.html Letters to Shareholders (1957 - 2012)

Business

“O’Hara was in his most non-stop way of talking, saying that the pictures put him in mind of Tiepolo [Spanish wall-painter, c. 1750]. Certain cupola frescoes. Suddenly I was working in an ancient building, a warehouse facing the Giudecca. The loft over the firehouse was transformed. It was filled with light reflected from the canal. [quote in 1955]”

Phillip Guston (1913–1980) American artist

Guston's quote; as cited in 'Ferguson', 1999, p. 18
1950 - 1960

Way, Quotes, Light

“When Sharon Stone asks you to do something, you just just do it. If Sharon Stone asked me to eat her poo, I'd be like "yeah, what's a good time for you?".(Pretending to eat poo) "This is really good poo Sharon, thanks".(To the audience) Stop picturing it……….. and come back!”

Kathy Griffin (1960) American actress and comedian

The D-list (2004)

Time

“Your thoughts about life and music have changed within the 45 years of the existence as a band and so it still can be seen as a burning process in order to transform the entire picture of everything you came in touch with.”

Edgar Froese (1944–2015) German musician and founder of Tangerine Dream

Life, Music, Change

“.. I did a great deal of work [in 1903, Normandy]. And I understood how to transfer nature into colors appropriate to the odor of my soul. I painted a large number of landscapes there, bushes and Breton heads from my window. The pictures were glowing with color. And my inner self was contended.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote of Jawlensky, c. 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 114
1900 - 1935

Color, Soul, Nature, Painting

“Back in the days (a later reflection on his early Parish years) when I was in Paris in my studio in 'La Ruche', through the partition I heard two Jewish emigrants arguing: 'Well, what would you say? Wasn't Antokolsky a Jewish artist? And Israels? And what about Liebermann?' The dim light of the lamp lit up my picture, which was upside down (that's the way I work – so consider yourself yourselves lucky!). As morning came, and the Parisian sky started to brighten up, I had to laugh about the futile comments of my neighbours on the fate of Jewish art: 'You two wind-backs can carry on – but I've got work to do'.”

Marc Chagall (1887–1985) French artist and painter

Quote from Bletlach (Leaflet - essay in Yiddish), Marc Chagall; published in 'Shtrom' No. 1, 1922
1920's

Fate, Art, Way, Light

“Now that we've lost Alan Shepard, I can't help feeling that something is wrong with this picture; astronauts aren't supposed to grow old and leave this Earth forever. In our memories, they remain as Shepard was on that sunny Friday morning in May 1961, when he lay inside a tiny Mercury capsule ready to be hurled into space atop a Redstone booster.”

Alan Shepard (1923–1998) American astronaut

Andrew Chaikin (August 2, 1998) "Real American heroes: Shepard pushed our frontiers", Milwaukee Journal Sentinel, p. 3.
About

Feeling, Memory, Help

“Two recent studies of the geomagnetic field in the last 1Myr have found 14 excursions, large changes in direction lasting 5–10kyr each, six of which are established as global phenomena by correlation between different sites. The older picture of the geomagnetic field enjoying long periods of stable polarity may not therefore be correct; instead, the field appears to suffer many dramatic changes in direction and concomitant reduction in intensity for 10–20 per cent of the time. During excursions the field may reverse in the liquid outer core, which has timescales of 500yr or less, but not in the solid inner core, where the field must change by diffusion with a timescale of 3kyr. This timescale is consistent with the remarkably uniform duration of well-dated excursions. The disparity of dynamical timescales between the inner and outer cores, a factor of 10, is consistent with the 10 excursions between full reversals.”

David Gubbins (1947) British university teacher

[The distinction between geomagnetic excursions and reversals, Geophysical Journal International, 137, 1, 1 April 1999, F1–F3, 10.1046/j.1365-246x.1999.00810.x]

Study, Suffering, Appearance, Change

“Actually the situation is even more complicated, since a separate tentacle picture is needed for each speed of motion of the electron, the speed being measured relative to the suspended magnet or other object on which the moving electron is to act. …When the electron is at rest, the tentacles stick out equally in all directions. But an electron which is at rest relative to one magnet may be in motion relative to another, and to discuss the action of the electron on this second magnet we must picture it as having a belt of tentacles round its waist. This shows that we must have a different picture for every speed of relative motion, so that the total number of pictures is infinite, and we cannot form the picture we need unless we know the speed of the electron relative to the object it is about to meet.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

Speed

“Most Illustrious, &c,— It was not necessary for your Excellency to remind me by letter or the gift of a rich cassock of the pictures, which I have altogether at heart, knowing as I do under what obligation I am for many kindnesses.... Many days have passed since I gave one of the pictures to the ambassador to send to your Excellency. Five others are in a fair way, which I shall finish on hearing that the first was satisfactory, or the reverse, regulating my work accordingly. And so I shall proceed by degrees to the end, when I shall hope to have well served your Excellency. In the meantime, it would be a great favour to me if your Excellency would liberate my benefice from the pension payable upon it, which, besides causing me a loss in money which I pay out yearly, creates not a little trouble and disturbance because of the persons with whom I am pestered, out of whose hands your Excellency alone can save me. I beg, I supplicate your Excellency to do this.... which alone would suffice to make me your Excellency's perpetual slave.”

Titian (1488–1576) Italian painter

In a letter to the Duke of Mantua, from Venice, 6 April 1537; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account..., publisher John Murray, London, 1877, p. 421
1510-1540

Money, Hope, Way, Loss

“Expression, to my way of thinking, does not consist of the passion mirrored upon a human face or betrayed by a violent gesture. The whole arrangement of my picture is expressive. The place occupied by figures or objects, the empty spaces around them, the proportions – everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter’s disposal for the expression of his feelings”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 410

Art, Way, Feeling, Thinking

“The black theologian must reject any conception of God which stifles black self-determination by picturing God as a God of all peoples. Either God is identified with the oppressed to the point that their experience becomes God's experience, or God is a God of racism. … The blackness of God means that God has made the oppressed condition God's own condition. This is the essence of the Biblical revelation. By electing Israelite slaves as the people of God and by becoming the Oppressed One in Jesus Christ, the human race is made to understand that God is known where human beings experience humiliation and suffering…Liberation is not an afterthought, but the very essence of divine activity.”

James H. Cone (1938–2018) American theologian

Source: A Black Theology of Liberation (1970), pp. 63-64

God, People, Understanding, Suffering

“My eyes make pictures when they are shut.”

Samuel Taylor Coleridge (1772–1834) English poet, literary critic and philosopher

A Day-Dream
Bartlett's Familiar Quotations, 10th ed. (1919)

“All my life I've been working on the work - every canvas a sentence or paragraph of it. Each picture is only an approximation of what you want. That's the beauty of being an artist; you can never make the absolute statement, but the desire to do so as an approximation keeps you going.”

Robert Motherwell (1915–1991) American artist

as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991 https://www.nytimes.com/1991/07/18/obituaries/robert-motherwell-master-of-abstract-dies.html Undated

Life, Beauty

“Heisenberg now approached the problem from a new philosophical angle. He discarded all models, pictures and parables, and made a clear distinction between sure knowledge we gain from observation of nature and the conjectural knowledge we introduce when we use models, pictures and parables. Sure knowledge… can only be numerical, so that Heisenberg's results were inevitably mathematical in form, and could not disclose anything about the true nature of physical properties or entities.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

Mathematics, Nature, Knowledge, Problem

“The central idea of quantum theory is that energy, like matter, is not continuous but it exists only in discrete packets. Discreteness of matter and charge on the microscopic scale seems entirely reasonable and familiar to us, based on the modern picture of atomic structure. But, the idea that energy also exists only in discrete chunks is contrary to our experience of the macroscopic world. The motions of a soccer ball rolling up and down the sides of a gully involve arbitrary amounts of kinetic and potential energy; nothing in ordinary human experience suggests that the energy of a system should change abruptly by “jumps.” Understanding quantum mechanics requires that we develop a new kind of physical intuition, based on the results of experiments that are impossible to understand using classical mechanics. These results are completely divorced from ordinary human experience in the macroscopic world around us, and our physical intuition from the macroscopic world cannot be transferred to the quantum domain. We must resist the urge to interpret these quantum results in terms of ordinary experience.”

David W. Oxtoby (1951) President of Pomona college

Principles of Modern Chemistry (7th ed., 2012), Ch. 4 : Introduction to Quantum Mechanics

World, Idea, Understanding, Change

“Sir — In finding so much to praise in 'Entertaining Mr. Sloane,' which seems to be nothing more than a highly sensationalized, lurid, crude and over-dramatised picture of life at its lowest, surely your dramatic critic has taken leave of his senses.The effect this nauseating work had on me was to make we want to fill my lungs with some fresh, wholesome Leicester Square air. A distinguished critic, if I quote him correctly, felt the sensation of snakes crawling around his ankles while watching it.Yours truly,Peter Pinnell”

Joe Orton (1933–1967) English playwright and author

This letter was written by Orton under a pseudonym and was published by the Daily Telegraph (p.283 of the Orton Diaries)
The Orton Diaries (1986), The Edna Welthorpe letters

Life, Quotes

“Writing music for a picture means you have to compromise with a given reference to a movie or the advice coming from the director and producer. Working on your own material, you have to be just authentic with yourself, following your subjective perspectives and ideas. There is no-one who will judge what you are doing as long as you are in the composing process. Both ways are very different but can support your input learning about the musical universe immensely.”

Edgar Froese (1944–2015) German musician and founder of Tangerine Dream

Music, Way, Idea, Support

“[the canvas.. ] rubbing in with a handful of straw, with a rag, a scrubbing brush, a Majorcan brush for applying white, with the hand, etc.... [a drawing in a] gigantic rhythm like that of a waterfall cascading down a mountainside.... [works based on] pure signs begun in Varensgeville and finished in Palma.... [with a picture ground of] blue vitriol [a pesticide] that they use for the vines and that splashes against the walls of the farmhouse..”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

Miro describes his 'attacks' on the canvas
Quote of Miró in his 'Working notes, 1941 – 1942'; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69
1940 - 1960

Drawing

“Radical groups in the 1960s developed a reputation for factionalism: organizations split because of disagreements on details of strategy, and then treated each other as enemies. Or at least, such is the image people have of them, whether or not it was true.
The relationship between the Free Software movement and the Open Source movement is just the opposite of that picture. We disagree on the basic principles, but agree more or less on the practical recommendations. So we can and do work together on many specific projects. 'We don't think of the Open Source movement as an enemy. The enemy is proprietary software.”

Richard Stallman (1953) American software freedom activist, short story writer and computer programmer, founder of the GNU project

1990s, Why "Free Software" is better than "Open Source" (1998)

People, Thinking

“He Robert Delaunay gives movement itself [in his pictures], the Futurists only illustrate movement..”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

c. 1913; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 145
Macke visited Delaunay in 1912, in Paris, and Robert Delaunay came to Macke in Bonn, 1913

Quotes about picture page 14

Quotes about picture
page 14