Quotes about picture
page 15

“The computer's most profound aesthetic implication is that we are being forced to dismiss the classical view of art and reality which insists that man stand outside of reality in order to observe it, and, in art, requires the presence of the picture frame and the sculpture pedestal. The notion that art can be separated from its everyday environment is a cultural fixation [in other words, a mythic structure] as is the ideal of objectivity in science. It may be that the computer will negate the need for such an illusion by fusing both observer and observed, "inside" and "outside."”

Jack Burnham (1931) American art historian

It has already been observed that the everyday world is rapidly assuming identity with the condition of art. Jack Burnham (1969). "The Aesthetics of Intelligent Systems" in Edward F. Fry, ed. (1970). On the Future of Art. New York: The Viking Press, p. 103; as cited in: Edward A. Shanken. "The House That Jack Built: Jack Burnham's Concept of 'Software' as a Metaphor for Art" http://www.artexetra.com/House.html in Leonardo Electronic Almanac 6:10 (November, 1998)

World, Art, Reality, Science

“I got the idea to paint people, in the way I see them. From one face I take to my own idea some very characteristic features of it and then I make of the whole a picture in colors and lines, in the way how I meet that person. The whole thing becomes not at all a portrait in the usual sense... I have tried to make types, but will built in more and more personal qualities and all that kind of things... Everything will be figured out fully abstract of course, it is just a personal feeling and no system at all.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Meine Idee ist es die Menschen zu malen, wie ich sie sehe. Ich nehme aus einem Gesicht einige meiner Ansicht nach am meisten sprechende Züge und ich mache dann vom ganzen ein Bild in den Farben und Linien, wie die Person mir entgegentritt. Das Ganze ist gar kein Porträt im gewöhnlichen Sinne.. .Ich habe mich bemüht, jetz noch Typen zu machen und werde mehr und mehr persönliche Eigenschaften und alle mögliche hereinbringen.. .Alles muss man sich natürlich ganz abstrakt denken, es ist ein persönliches Gefühl und gar kein System.
in a letter to Herwarth Walden, 6 Feb. 1918; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 20
1910's

People, Color, Way, Feeling

“When Earth's last picture is painted and the tubes are twisted and dried,
When the oldest colours have faded, and the youngest critic has died,
We shall rest, and, faith, we shall need it—lie down for an aeon or two,
Till the Master of All Good Workmen shall put us to work anew!”

Rudyard Kipling (1865–1936) English short-story writer, poet, and novelist

L'Envoi, Stanza 1 (1896).
The Seven Seas (1896)

Lie, Faith, Painting

“It is always my endeavour however in making a picture that it should be without a companion in the world. At least such should be a painters ambition.”

John Constable (1776–1837) English Romantic painter

Letter to a client, Mr Carpenter (23 July 1828), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 291
1820s

World

“People have expected less of movies and have been willing to settle for less. Some have even been willing to settle for Kramer vs. Kramer and other pictures that seem to be made for an audience of over-age flower children. These pictures express the belief that if a man cares about anything besides being at home with the kids, he’s corrupt. Parenting ennobles Dustin Hoffman and makes him a better person in every way, while in The Seduction of Joe Tynan we can see that Alan Alda is a weak, corruptible fellow because he wants to be President of the United States more than he wants to stay at home communing with his daughter about her adolescent miseries. Pictures like these should all end with the fathers and the children sitting at home watching TV together.”

Pauline Kael (1919–2001) American film critic

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

Children, People, Age, Way

“Nothing in our daily life will last if neglected; houses, stuffs, friendships, pleasures. Roofs fall in, love comes to an end. A tile needs re-fastening, a joint must be repaired, a misunderstanding cleared up. Otherwise bitterness is created; feelings deep down in the soul become centers of infection, and one day, during a quarrel, the abscess breaks, and each is horrified by the picture of himself or herself discovered in the other's mind.”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Marriage

Love, Life, Friendship, Pleasure

“Edward Smith: Why is it more of a pleasure to do 30 or 40 pictures than to do just one?
Andy Warhol: Then I can, uh, listen to my soundabout which looks just like the thing that I'm wearing now, and you can listen to opera and stuff like that.
Edward Smith: Does that mean you don't have to think when you're painting?
Andy Warhol: No, you can listen to really good music.
Edward Smith: So, what, painting is an excuse to listen to really good music?
Andy Warhol: Oh, yeah.”

Andy Warhol (1928–1987) American artist

1975 - 1987, BBC interview (1981)

Pleasure, Music, Thinking, Painting

“I am always in the picture somewhere. The amount of space I use I am always in, I seem to move around in it. And there seems to be a time when I lose sight of what I wanted to do, and then I am out of it. If the picture has a countenance I keep it. If it hasn't, I throw it away.”

Willem de Kooning (1904–1997) Dutch painter

Quote of de Kooning, in: Modern Artists in America, First Series, R. Motherwell, Ad Reinhardt and B. Karpel eds., 1952 p. 12.
1950's

Time

“Every true artist creates new values, new beauty... When you notice anarchy, recklessness, or licentiousness in works of contemporary art, when you notice crass coarseness and brutality, then occupy yourself long and painstakingly precisely with these works, and you will suddenly recognize how the seeming recklessness transforms itself into freedom, the coarseness into high refinements. Harmless pictures are seldom worth anything.”

Emil Nolde (1867–1956) German artist

Quote of Nolde's letter to Hans Fehr, 1905; published in 'Aus Leben und Werkstatt Emil Noldes', 'Das Kunstblatt' no. 7 (1919), p. 208; as cited in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 40
Hans Fehr expressed in a letter to Nolde his concern about the 'recklessness' and 'licentiousness' of some prints by Nolde. Fehr published Nolde's response in 1919
1900 - 1920

Beauty, Art, Freedom

“… if anyone thinks they can get an accurate picture of anyplace on the planet by reading news reports, they're sadly mistaken.”

Bruce Schneier (1963) American computer scientist

Should Terrorism be Reported in the News?, Schneier, Bruce, 2005-05-15, Cryptogram newsletter, 2006-09-08 http://www.schneier.com/crypto-gram-0505.html#3, Human perception of reality, risk and terrorism

Thinking, Reading

“No, Mr. Williams, certainly not; if Mr. Drake [a solicitor of the English Railway Company] has purchased a 'Turner', he ought to know it is a Turner; I was once silly enough to look at a picture that I was told had been painted by me, and I found myself soon after stuck up in a witness-box, giving evidence about it; I then said I'll never be so silly again.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote from Turner's remark c. Jan, 1849, to financial agent Mr. Williams; as cited in 'The life of J.M.W. Turner', Volume II, George Walter Thornbury; https://ia801207.us.archive.org/18/items/lifeofjmwturnerr02thor/lifeofjmwturnerr02thor.pdf Hurst and Blackett Publishers, London, 1862, pp. 248-249 Mr. Drake, the solicitor of the Railway Company, whom Mr. Turner saw when he executed the conveyance, requested Mr. Williams to ask Turner's permission to show him a picture he had purchased as a 'Turner' 1821 - 1851

Painting, Box

“Ideas and techniques known in quantum electrodynamics have been applied to the Bardeen-Cooper-Schrieffer theory of superconductivity. In an approximation which corresponds to a generalization of the Hartree-Fock fields, one can write down an integral equation defining the self-energy of an electron in an electron gas with phonon and Coulomb interaction. The form of the equation implies the existence of a particular solution which does not follow from perturbation theory, and which leads to the energy gap equation and the quasi-particle picture analogous to Bogolyubov's.”

Yoichiro Nambu (1921–2015) American physicist

[Quasi-particles and gauge invariance in the theory of superconductivity, Physical Review, 117, 3, February 1960, 648–663, 10.1103/PhysRev.117.648]

Idea

“When I think of the thousands and thousands of pounds which have been spent by the National Art Collections Fund on the purchase of paintings—some of questionable merit and dubious condition—by Old Masters already represented in the National Gallery—it makes me boil with rage to think that in 1905 it would not contribute one halfpenny towards the purchase for the nation of a picture by one of the Great French Masters of the late nineteenth century. It was a short-sighted policy, but the Fund's inertia and snobbish ineptitude are entirely characteristic of the habits of art-officialdom in England.”

Frank Rutter (1876–1937) British art critic

Rutter, Frank. Art in My Time, pp. 118–119. Rich & Cowan, London, 1933.
The National Art Collections Fund is now called The Art Fund.

Art, Question, Thinking, Rage

“They were very much the same, each attempting to force his picture of reality upon me and neither giving a hoot in hell for how things looked to me.”

Ralph Ellison book Invisible Man

Source: Invisible Man (1952), Chapter 23.

Hell, Reality

“Pictures deface walls oftener than they decorate them.”

Frank Lloyd Wright (1867–1959) American architect (1867-1959)

"In the Cause of Architecture", in The Architectural Record (March 1908)

“My Saviour! fill up the blurred and blotted sketch which my clumsy hand has drawn of a Divine life, with the fullness of Thy perfect picture. I feel the beauty I cannot realize; robe me in Thine unutterable purity.”

Frederick William Robertson (1816–1853) British writer and theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 77.

Life, Beauty, Feeling, Perfection

“To prevent the starving peasants from fleeing to the towns an internal passport system was introduced and unauthorized change of residence was made punishable with imprisonment. Peasants were not allowed passports at all, and were therefore tied to the soil as in the worst days of feudal serfdom: this state of things was not altered until the 1970s. The concentration camps filled with new hordes of prisoners sentenced to hard labour. The object of destroying the peasants’ independence and herding them into collective farms was to create a population of slaves, the benefit of whose labour would accrue to industry. The immediate effect was to reduce Soviet agriculture to a state of decline from which it has not yet recovered, despite innumerable measures of reorganization and reform. At the time of Stalin’ s death, almost a quarter of a century after mass collectivization was initiated, the output of grain per head of population was still below the 1913 level; yet throughout this period, despite misery and starvation, large quantities of farm produce were exported all over the world for the sake of Soviet industry. The terror and oppression of those years cannot be expressed merely by the figures for loss of human life, enormous as these are; perhaps the most vivid picture of what collectivization meant is in Vasily Grossman’ s posthumous novel Forever Flowing.”

Leszek Kolakowski (1927–2009) Philosopher, historian of ideas

pg. 39
Main Currents Of Marxism (1978), Three Volume edition, Volume III: The Breakdown

Life, Death, World, Change

“I love going out and it is a bit sad when the photographers stop asking you for your picture.”

Alice Evans (1971) British actress

"Meet La Belle Anglaise" By Anna Pursglove Evening Standard, 15 December 2000.

Love, Sadness

“Existential psychotherapy is the movement which, although standing on one side on the scientific analysis owed chiefly to the genius of Freud, also brings back into the picture the understanding of man on the deeper and broader level — man as the being who is human. It is based on the assumption that it is possible to have a science of man which does not fragmentize man and destroy his humanity at the same moment as it studies him. It unites science and ontology.”

Rollo May (1909–1994) US psychiatrist

Source: Existence (1958), p. 36; also published in The Discovery of Being : Writings in Existential Psychology (1983), Part II : The Cultural Background, Ch. 5 : Kierkegaard, Nietzsche, and Freud, p. 87

Understanding, Study, Science

“Film-making encompasses everything, from tricking people into investing in it, to putting on the show, to trying to distill down to moments in time, and ape reality but send this other message. It's got everything. When I was a kid I loved to draw, and I loved my electric football sets, and I painted little things and made sculptures and did matte painting and comic books and illustrated stuff, and took pictures, had a darkroom, loved to tape-record stuff. It's all of that. It's not having to grow up. It's four-dimensional chess, it's strategy, and it's being painfully honest, and unbelievably deceitful, and everything in between.”

David Fincher (1962) American film director

Gavin Smith goes one-on-one with David Fincher (1999)

Love, People, Books, Reality

“Chemical reasoning, as used both in applications and in basic research, resembles a detective story in which tangible clues lead to a mental picture of events never directly witnessed by the detective.”

David W. Oxtoby (1951) President of Pomona college

Principles of Modern Chemistry (7th ed., 2012), Ch. 1 : The Atom in Modern Chemistry

“.. I also send the picture of the 'Trinity' [also called La Gloria].... in my wish to satisfy your C. M. [Caesarean Majesty] I have not spared myself the pains of striking out two or three times the work of many days to bring it to perfection and satisfy myself, whereby more time was wasted than I usually take to do such things.... the portrait of Signor Vargas [agent of Charles V, who was paying Titian for his works] introduced into the work [very probably in the 'La Gloria' / 'Trinity'] was done at his request. If it should not please your C. M. any painter can, with a couple of [brush] strokes, convert it into another person.”

Titian (1488–1576) Italian painter

In a letter from Venice to the Spanish emperor Charles V in Bruxelles, 10 Sept. 1554; original in the 'Appendix' of Titian: his life and times - With some account of his family... Vol. 2., J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, p. 231-232
Titian is announcing in his letter the completion and the delivery of the paintings 'Trinity' and 'Addolorata' and probably a third painting 'Christ appearing to the Magdalen', for Mary of Hungary
1541-1576

Pain, Time, Personality, Perfection

“I have to report that this motion picture is arguably the worst piece of cinematic crap I have ever experienced theatrically. Hyperbole, you wonder? I looked through my list of zero-star movies and couldn't find one entry (except the immortal Zombie vs. Mardi Gras, which was a straight-to-video release) that ranked as more difficult to endure. Words like abomination and travesty don't do this movie justice. Sitting through Freddy Got Fingered was one of the most depressing experiences in my 10 years of reviewing films. It's not even enjoyable on a campy level. It's just bad, bad, bad, bad, bad, bad, bad - Directed By Tom Green.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1485 of Freddy Got Fingered (2001). Zero star reviews

Justice, Star

“I can understand the ignorant masses loving to soak themselves in drink—oh, yes, it's very shocking that they should, of course—very shocking to us who live in cozy homes, with all the graces and pleasures of life around us, that the dwellers in damp cellars and windy attics should creep from their dens of misery into the warmth and glare of the public-house bar, and seek to float for a brief space away from their dull world upon a Lethe stream of gin. But think, before you hold up your hands in horror at their ill-living, what "life" for these wretched creatures really means. Picture the squalid misery of their brutish existence, dragged on from year to year in the narrow, noisome room where, huddled like vermin in sewers, they welter, and sicken, and sleep; where dirt-grimed children scream and fight and sluttish, shrill-voiced women cuff, and curse, and nag; where the street outside teems with roaring filth and the house around is a bedlam of riot and stench. Think what a sapless stick this fair flower of life must be to them, devoid of mind and soul. The horse in his stall scents the sweet hay and munches the ripe corn contentedly. The watch-dog in his kennel blinks at the grateful sun, dreams of a glorious chase over the dewy fields, and wakes with a yelp of gladness to greet a caressing hand. But the clod-like life of these human logs never knows one ray of light. From the hour when they crawl from their comfortless bed to the hour when they lounge back into it again they never live one moment of real life. Recreation, amusement, companionship, they know not the meaning of. Joy, sorrow, laughter, tears, love, friendship, longing, despair, are idle words to them. From the day when their baby eyes first look out upon their sordid world to the day when, with an oath, they close them forever and their bones are shoveled out of sight, they never warm to one touch of human sympathy, never thrill to a single thought, never start to a single hope. In the name of the God of mercy; let them pour the maddening liquor down their throats and feel for one brief moment that they live!”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

Idle Thoughts of an Idle Fellow (1886)

Love, Life, Women, God

“One day I was in rather a fix, so I went out. I strolled along in the dazzling sunlight of early spring, lost in thought, seeing and hearing nothing, really; forming no kind of picture of what was going on around me in the Saturday bustle of the country village. Nothing. Funny, it was so typical : one of those times when a writer feels stale, when his pen has been showing signs of going on of going on strike and will soon cease to obey him altogether. Driven by his restlessness, the writer goes away like a rat leaving a sinking ship…”

Marko Tapio

Marko Tapio, in: The Norseman, Vol. 15, 1957, p. 413

Feeling, Spring, Time, Country

“If paparazzi specialized in mathematical celebrities they'd camp outside the dining hall at the IAS and come away with a new batch of pictures every day.”

Cédric Villani book Birth of a Theorem

[Cédric Villani, Birth of a Theorem: A Mathematical Adventure, https://books.google.com/books?id=aN8tBQAAQBAJ&pg=PT70, 5 March 2015, Random House, 978-1-4481-5657-3, 70]

Mathematics

“When we describe what the other person is really like, I suppose we often picture what we want. We look through the prism of our need.”

Ellen Goodman (1941) American journalist and writer

Attributed

Personality

“…to be able to say of a representation that it is "exactly like Nature " is by no means equivalent to saying that it is a fine picture.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 3

Nature

“I tell the Iranians that if they hear from people here or there that pictures of Ayatollah Khamenei are hung in Iraqi homes, it is a lie.”

Iyad Jamal Al-Din (1961) Iraqi politician

Sayyed Ayad Jamal Aldin: Iraqis Do Not Put Pictures of Khamenei in Their Homes, Al-Arabiya TV, January 3, 2005 http://www.youtube.com/watch?v=VyjdKV9wxpk,

People, Lie, Home

“Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture.”

Alfred Stieglitz (1864–1946) American photographer

Source: 'A Plea for Art Photography in America', Alfred Stieglitz, in 'Photographic Mosaics,' Vol 28, 1892: About Pictorialism.

Nature, Sense, Light, Distant

“Painting for me is like a fabric, all of a piece and uniform, with one set of threads as the representational, esthetic element, and the cross-threads as the technical, architectural, or abstract element. These threads are interdependent and complementary, and if one set is lacking the fabric does not exist.A picture with no representational purpose is to my mind always an incomplete technical exercise, for the only purpose of any picture is to achieve representation.”

Juan Gris (1887–1927) Spanish painter and sculptor

Quote from 'On the Possibilities of Painting,' lecture, Sorbonne (1924-05-15)

Exercises, Painting

“Most mathematics books are filled with finished theorems and polished proofs, and to a surprising extent they ignore the methods used to create mathematics. It is as if you merely walked through a picture gallery and never told how to mix paints, how to compose pictures, or all the other "tricks of the trade."”

Richard Hamming (1915–1998) American mathematician and information theorist

Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)

Books, Mathematics, Painting

“Get married, get on with it, email us the pictures, we're happy to have a look.”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

The Moaning of Life, Karl on Marriage

Happiness

“So vivid is my recollection of the birth of Benjamin Black that surely, I feel, a cunning artificer has been at work, fashioning a surreally realistic picture of something that happened quite differently from what I seem to remember. Consider that light falling on the sea, how effulgent and steady it is; consider the trees, improbably full-leafed for the time of year – and look at those birds! Has Madam Memory really such a piercing eye for detail, are her powers of recall so comprehensive?”

John Banville (1945) Irish writer

John Banville on the birth of his dark twin, Benjamin Black (2011)

Feeling, Fashion, Birth, Bird

“Eventually you can see that your pain was part of a much larger picture that God was carefully painting.”

James MacDonald (1960) American pastor

Source: Always True (Moody, 2011), p. 87

God, Pain, Parting, Painting

“When Hannibal's eyes were sated with the picture of all that valour, he saw next a marvellous sight—the sea suddenly flung upon the land with the mass of the rising deep, and no encircling shores, and the fields inundated by the invading waters. For, where Nereus rolls forth from his blue caverns and churns up the waters of Neptune from the bottom, the sea rushes forward in flood, and Ocean, opening his hidden springs, rushes on with furious waves. Then the water, as if stirred to the depths by the fierce trident, strives to cover the land with the swollen sea. But soon the water turns and glides back with ebbing tide; and then the ships, robbed of the sea, are stranded, and the sailors, lying on their benches, await the waters' return. It is the Moon that stirs this realm of wandering Cymothoe and troubles the deep; the Moon, driving her chariot through the sky, draws the sea this way and that, and Tethys follows with ebb and flow.”
Postquam oculos varia implevit virtutis imago, mira dehinc cernit: surgentis mole profundi injectum terris subitum mare nullaque circa litora et infuso stagnantis aequore campos. nam qua caeruleis Nereus evoluitur antris atque imo freta contorquet Neptunia fundo, proruptum exundat pelagus, caecosque relaxans Oceanus fontis torrentibus ingruit undis. tum uada, ceu saevo penitus permota tridenti, luctantur terris tumefactum imponere pontum. mox remeat gurges tractoque relabitur aestu, ac ratis erepto campis deserta profundo, et fusi transtris expectant aequora nautae. Cymothoes ea regna vagae pelagique labores Luna mouet, Luna, immissis per caerula bigis, fertque refertque fretum, sequiturque reciproca Tethys.

Silius Italicus Punica

Postquam oculos varia implevit virtutis imago,
mira dehinc cernit: surgentis mole profundi
injectum terris subitum mare nullaque circa
litora et infuso stagnantis aequore campos.
nam qua caeruleis Nereus evoluitur antris
atque imo freta contorquet Neptunia fundo,
proruptum exundat pelagus, caecosque relaxans
Oceanus fontis torrentibus ingruit undis.
tum uada, ceu saevo penitus permota tridenti,
luctantur terris tumefactum imponere pontum.
mox remeat gurges tractoque relabitur aestu,
ac ratis erepto campis deserta profundo,
et fusi transtris expectant aequora nautae.
Cymothoes ea regna vagae pelagique labores
Luna mouet, Luna, immissis per caerula bigis,
fertque refertque fretum, sequiturque reciproca Tethys.
Book III, lines 45–60
Punica

Way, Spring, Lying, Water

“Bread has always been one of the oldest subjects of fetishism and obsession in my work, the first and the one to which I have remained the most faithful. I painted the same subject 19 years ago 'Basket of Bread, 1929'. By making a very careful comparison of the two pictures, everyone can study all the history of painting right there, from the linear charm of primitivism to stereoscopic hyper-aestheticism.”

Salvador Dalí (1904–1989) Spanish artist

Dali's quote, 1945; as cited by R. Descharnes (1985), in Salvador Dalí. Abrams. p. 94. ISBN 0-8109-0830-1
Dali just finished his second painting 'Basket of Bread, 1945'
Quotes of Salvador Dali, 1941 - 1950

Faith, History, Study, Painting

“Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay,
Lull'd by the coil of his crystalline streams
Beside a pumice isle in Baiæ's bay,
And saw in sleep old palaces and towers
Quivering within the wave's intenser day,
All overgrown with azure moss and flowers
So sweet, the sense faints picturing them.”

Percy Bysshe Shelley book Ode to the West Wind

St. III
Ode to the West Wind (1819)

Dreams, Flowers, Sense, Sleep

“Universal was like a family. When I was having a terrible time during my pregnancy, they came to my home and built sets right in my bedroom so I could finish the few scenes I had left in ‘That’s the Spirit’. But Columbia—that was work! I did a lot of crime pictures and another horror called ‘The Creeper’. When it was time for those cats to be all over my dead body, I yelled for a stand in. I couldn’t stand having dozens of cats walking all over me. It gave me the shivers!”

June Vincent (1920–2008) actress

An Interview with June Vincent (1996)

Family, Home, Cats, Universe

“The chief pleasure of his life in these days was to go down the road and look through the window in the wall in the hope of seeing the beautiful Island. … the sight of the Island and the sounds became very rare … and the yearning for the sight … became so terrible that John thought he would die if he did not have them again soon. … it came into his head that he might perhaps get the old feeling-for what, he thought, had the Island ever given him but a feeling?–by imagining. He shut his eyes and set his teeth again and made a picture of the Island in his mind.”

Clive Staples Lewis book The Pilgrim's Regress

Pilgrim’s Regress 12–13
The Pilgrim's Regress (1933)

Life, Pleasure, Beauty, Hope

“Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

Art, Color, Idea, Question

“We passed on the email to the Eastern India Motion Pictures Association. They have informed Lalbazar’s anti-piracy cell. We’ve also informed Bhawani Bhavan and will write to the copyright authorities.”

Arin Paul (1980) Indian film director

On Music Piracy of 10:10 http://www.telegraphindia.com/1081117/jsp/calcutta/story_10119609.jsp(2008)

“Picture this:
A mountain splintering the sky like a broken bone, its western precipice plummeting onto jumbled scree.”

Sheri S. Tepper (1929–2016) American fiction writer

Source: The Visitor (2002), Ch. 1 : caigo faience, first lines (p. 1)

Mountain

“Four species of penguins that breed in Antartica are endangered by global warming.
Even I, the only man in the world who can get angry from looking at a picture of a penguin, find this bad news.”

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

"Penguins" (16 December 2007) http://www.stallman.org/archives/2007-sep-dec.html#16%20December%202007%20%28Penguins%29 2000s

World

“Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't meant it as a compliment, but it was. It was a fine compliment. Only he didn't know it.”

Jackson Pollock (1912–1956) American artist

In 'Unframed Space' interview with Berton Roueché, The New Yorker (5 August 1950); as quoted in The Grove Book of Art Writing: Brilliant Words on Art from Pliny the Elder to Damien Hirst ed. Martin Gayford and Karen Wright [Grove Press, 2000, ISBN 0-802-13720-2], p. 546
1950's

Painting

“My friends assured me that Hitler’s talk was sheer bombast,” Vishniac said in 1955. “But I replied that he would not hesitate to exterminate those people when he got around to it. And who was there to defend them? I knew I could be of little help, but I decided that, as a Jew, it was my duty to my ancestors, who grew up among the very people who were being threatened, to preserve — in pictures, at least — a world that might soon cease to exist.”

Roman Vishniac (1897–1990) American photographer

People, World, Help

“It lay heavily in her hands, the crystal face gleaming, the golden body exquisitely machined. It was very like a clock, or a compass, for there were hands pointing to places around the dial, but instead of the hours or the points of the compass there were several little pictures, each of them painted with extraordinary precision, as if on ivory with the finest and slenderest sable brush. She turned the dial around to look at them all. There was an anchor; an hourglass surmounted by a skull; a chameleon, a bull, a beehive… Thirty-six altogether, and she couldn't even guess what they meant.”

Philip Pullman His Dark Materials trilogy

Lyra, investigating the alethiometer, in Ch. 4 : The Alethiometer
His Dark Materials, The Golden Compass (1995)

Painting

“Dig if U will the picture
Of U and I engaged in a kiss.
The sweat of your body covers me.
Can U my darling,
Can U picture this?Dream if U can a courtyard,
An ocean of violets in bloom.
Animals strike curious poses;
They feel the heat,
The heat between me and U.”

Prince (1958–2016) American pop, songwriter, musician and actor

When Doves Cry
Song lyrics, Purple Rain (1984)

Dreams, Feeling, Kiss, Animals

“Photography for me is not looking, it's feeling. If you can't feel what you're looking at, then you're never going to get others to feel anything when they look at your pictures.”

Don McCullin (1935) artist

David Armstrong, Theo Farrell, Bice Maiguashca, Governance and resistance in world politics http://books.google.pl/books?id=Xs6V0PLaEiEC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false, Cambridge University Press, 2003, p. 68.

Feeling

“It's a picture perfect eveningAnd I'm staring down the sunFully loaded, deaf, and dumbAnd done waiting for sedation to disconnect my headOr any situation where I'm better off than dead”

Elliott Smith (1969–2003) American singer-songwriter

Sweet Adeline.
Lyrics, XO (1998)

Waiting, Perfection, Dead

“Our ineptitude in getting at the record is largely caused by the artificiality of systems of indexing. When data of any sort are placed in storage, they are filed alphabetically or numerically, and information is found (when it is) by tracing it down from subclass to subclass. It can be in only one place, unless duplicates are used; one has to have rules as to which path will locate it, and the rules are cumbersome. Having found one item, moreover, one has to emerge from the system and re-enter on a new path.
The human mind does not work that way. It operates by association. With one item in its grasp, it snaps instantly to the next that is suggested by the association of thoughts, in accordance with some intricate web of trails carried by the cells of the brain. It has other characteristics, of course; trails that are not frequently followed are prone to fade, items are not fully permanent, memory is transitory. Yet the speed of action, the intricacy of trails, the detail of mental pictures, is awe-inspiring beyond all else in nature.”

Vannevar Bush book As We May Think

As We May Think (1945)

Way, Nature, Memory, Speed

“Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1962; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1 1960's

God, Art, Search, Sense

“(Picture of Keith Richards and Mick Jagger of The Rolling Stones appear) This week, the California Raisins announced plans for a new world tour.”

Amy Poehler (1971) American actress

citation needed
Weekend Update samples

World, Appearance

“When virtue is pictured as innocence and innocence equated with childlikeness, the implication is obviously that knowledge and experience are no longer media of goodness, but have become in themselves contaminating. This is a very despairing outlook, in its way as black as Augustine's original sin, for it supposes that original goodness will in all likelihood be defiled…It surrenders the attempt to represent virtue in a mature phase.”

Marina Warner (1946) writer and mythographer

Joan of Arc (Harmondsworth, Penguin, [1981] 1983) p. 262.

Way, Knowledge, Despair

“Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

Feeling, Horse, Painting

“A picture must possess a real power to generate light.... for a long time now I've been conscious of expressing myself through light or rather in light.”

Henri Matisse (1869–1954) French artist

As quoted in Matisse (1984) by Pierre Schneider
posthumous quotes

Light, Time

“Pan's Labyrinth works on so many levels that it seems to change shape even as you watch it. It is, at times, a joyless picture, and its pall of sadness can begin to weigh you down.”

Stephanie Zacharek (1963) American film critic

Review http://www.salon.com/ent/movies/review/2006/10/13/pans_labyrinth/ of Pan's Labyrinth (2006)

Sadness, Change, Time

“I don't mistrust reality, of which I know next to nothing. I mistrust the picture of reality conveyed to us by our senses, which is imperfect and circumscribed. Our eyes have evolved for survival purposes. The fact that they can also see the stars is pure accident.”

Gerhard Richter (1932) German visual artist, born 1932

Richter is questioning here the 'picture of reality'
Source: after 2000, Doubt and belief in painting' (2003), p. 87, note 13

Star, Reality, Sense

“Your Ceasarean Majesty, I consigned to senõr Don Diego di Mendoza, the two portraits of the most serene Empress [ Isabella ], in which I have used all the diligence of which I was capable. I should have liked to take them to your Majesty in person, but that my age and the length of the journey forbade such a course. I beg your Majesty to send me words of the faults or failings which I may have made, and return the pictures that I may correct them. Your Majesty may not permit anyone else to lay hand on them.... Your Majesty’s most humble and constant servant, Titiano.”

Titian (1488–1576) Italian painter

In a letter to Emperor Charles V, from Venice, 5 Oct, 1544; copied in the 'Archives of Simancas' by Mr. Bergenroth; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account... Volume II, publisher John Murray, London, 1877, p. 103
This letter is written by Titian himself - free from the polite style of his secretary/friend Arentino; he is telling the Emperor that he had finished two portraits of the Empress Isabella, he painted after her death after a probably Flemish original. The two portraits were sent to the court in Brussels.
1541-1576
Source: https://en.wikipedia.org/wiki/Titian#/media/File:Isabella_of_Portugal_by_Titian.jpg

Age, Personality

“North Koreans now understand that South Korea is very rich. It is true, but there is a great difference between vaguely understanding something and having such graphic images of neighbors' prosperity flooding your daily life. As is usually the case, such pictures are liable to be exaggerated at first. An outsider in a rich country usually cannot immediately see the contradictions, problems and tensions that exist behind the sparking, glistening, glitzy facade. For the North Koreans, this picture of the South Korean prosperity would likely be seen as vivid proof of the complete failure of their leadership. The North Korean elite cannot even use the usual trick of putting the blame at the doors of their predecessors: This elite is hereditary, so the buck cannot be easily passed.”

Andrei Lankov (1963) Russian academic

The Folly of an Inter-Korean Confederation (October 2015)

Life, Failure, Understanding, Problem

“Nor do such theories provide a ready account for the equivalence of the slopes of the reaction-time functions for the picture-plane and depth pairs. For, in order to explain the dependence of reaction time on angular difference, we must suppose that the features that are being compared are the features of the two-dimensional drawings, which differ more and more with angular departure, and not the features of the three-dimensional objects, which are the same regardless of orientation.”

Roger Shepard (1929) American psychologist

Source: Mental images and their transformations. 1982, p. 66; as cited in Niall (1997)

Departure, Time, Drawing, Dependency

“No one can be a true mystic who is not thoroughly versed in the ways of nature. The more nature is attracted by spiritual favors, the more it is inclined to make itself the master of them. Nature always mingles its own spirit with the spirit of God. unless we keep a close watch over it, it will always remain so. Natures most subtle snare is to lead us to confuse what is licit with what is expedient. When we doubt the inspiration of an impulse, whether from grace or nature, we should picture a similar object which is without doubt acceptable to nature. If this representation pleases us, it is a sign that the first inclination also comes from nature and is consequently to be rejected.”

John of St. Samson (1571–1636)

From, Light on Carmel: An Anthology from the Works of Brother John of Saint Samson, O.Carm.

God, Way, Nature

“The food you put into your body is the single most powerful factor that determines your health and well-being. … I was transformed from a chronically ill young man to a person who could be considered the picture of health. At fifty-nine years of age (I was born in 1947), I continue to reap the benefits of fueling my body with the right foods. How many grandpas do you know who regularly windsurf in the deep blue ocean or strap their grandson into a backpack to carry him on a mountainous hiking adventure? Because of proper diet, this is the kind of health I enjoy today.”

John A. McDougall (1947) American physician

Digestive Tune-Up (Healthy Living Publications, 2006), Introduction, pp. x https://books.google.it/books?id=EVql0RH7LwwC&pg=PR10-xi.

Health, Age, Food, Mountain

“There's an old saying that states something about leaving the best for last. [Writer/producer] George Lucas certainly didn't follow that adage when crafting the original Star Wars trilogy. Return of the Jedi, the final installment of the series, is easily the least innovative and most hokey of the three films. In fact, most of the enjoyment derived from this motion picture comes from the simple act of getting together with old friends and enemies one more time. If Luke, Han, Leia, and Vader were replaced by nameless, faceless characters, Return of the Jedi wouldn't be a whole lot more interesting than Independence Day.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/s/sw3.html of Star Wars Episode VI: Return of the Jedi (1983). Three star reviews

War, Star, Time

“I collected 599 pictures of Elizabeth Taylor — some people find that obsessive. I collected 599. Not 600, but 599. I feel that genius and obsession be the same thing. It is rare when a woman is driven by obsession. Similarly, it is rare when a woman is a genius. That's why I said one of my most notorious sentences, that there is no woman Mozart because there is no woman Jack the Ripper. Men are more prone to obsession because they are fleeing domination by women. They flee to a chess game or to a computer or to fixing a car, or whatever, to attempt to complete their identities, because they always feel incomplete.”

Camille Paglia (1947) American writer

Playboy interview (May 1995)

Women, Men, People, Cars

“There was a great director who directed a picture that I wrote who barred me from the set— quite appropriately— and said, “I’m sorry, Jim. When you’re directing, you don’t need to know everything. You need the illusion that you do.” And, you know, and I WOULD be there— behind him trying to signal the actors in, you know, in a way I wasn’t even aware of.”

James L. Brooks (1940) American director, producer and screenwriter

In the documentary Dreams on Spec

Way

“Why should not I call my works 'symphonies', 'arrangements', 'harmonies', and 'nocturnes'?... The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell. My picture of 'Harmony in Grey and Gold' is an illustration of my meaning – as snow scene with a single black figure and lighted tavern. I care nothing for the past, present, or future of the black figure, placed there because the black was wanted at that spot. All that I know is that my combination of grey and gold is the basis of the picture, Now this is precisely what my friends cannot grasp.”

James McNeill Whistler (1834–1903) American-born, British-based artist

Quote in a letter to 'The World', London 22 Mai, 1878; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

Light, Past, Future

“I admit I know little of Orient art. But that is because I cannot find in it what I am looking for, or what I am talking about. To me the Oriental idea of beauty is that 'it isn’t there'. It is in a state of nor being there. It is absent. That is why it is so good. It is the same thing I don't like in Suprematism, Purism and non-objectivity… I do like the idea that they - the 'pots and pans' [pictured in the classic still life paintings], I mean – are always in relation to man. They have no soul of their own, like they seem to have in the Orient..”

Willem de Kooning (1904–1997) Dutch painter

Quote from De Kooning's lecture Trans/formation, at Studio 35, 1950.
1950's

Life, Beauty, Art, Soul

“The picture of the 'New Flower' ['Het Bloempje', 1880] is really one of those I did with much idea of having to express loveliness and youth both in human feeling and in the naturally plants of flowers, and If I may say don't you find, that I have succeed in this composition?”

Jozef Israëls (1824–1911) Dutch painter

Quote from his letter, 23 March 1906, to F.W. Gusaulus in Toledo, (TMA); as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 306
This remark Israëls wrote 26 years after finishing the watercolor; probably it was a gift to the American art-critic
Quotes of Jozef Israels, after 1900

Youth, Feeling, Flowers, Idea

“What I really want to do, it seems, is to paint a single form in the middle of a canvas... That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.... I became signs. Exactly.... It seemed to become signs and symbols and I don't like signs.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 95

Fools, Feeling, Painting

“We realize, however, that all scientific laws merely represent abstractions and idealizations expressing certain aspects of reality. Every science means a schematized picture of reality, in the sense that a certain conceptual construct is unequivocally related to certain features of order in reality;”

Ludwig von Bertalanffy (1901–1972) austrian biologist and philosopher

Source: General System Theory (1968), 4. Advances in General Systems Theory, p. 83

Law, Reality, Sense, Science

“Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers… How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.”

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

In 'Franz Müllers Drahtfrühling – Memories of Kurt Schwitters Hans Arp 1956; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken - commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam - NAI Publishers, Rotterdam 2000, pp. 140-141
1950s

Beauty

“I didn’t photograph people as an example of New York urban something or other. I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.”

Saul Leiter (1923–2013) American photographer

Saul Leiter: The Quiet Iconoclast (2009)

People, Parting

“The picture of law triumphant and justice prostrate, is not, I am aware, without admirers. To me it is a sorry spectacle. The spirit of justice does not reside in formalities, or words, nor is the triumph of its administration to be found in successfully picking a way between the pitfalls of technicality. After all, the law is, or ought to be, but the handmaid of justice, and inflexibility, which is the most becoming robe of the latter, often serves to render the former grotesque. But any real inroad upon the rights and opportunities for defence of a person charged with a breach of the law, whereby the certainty of justice might be imperilled, I conceive to be a matter of the highest moment.”

James Wilde, 1st Baron Penzance (1816–1899) British judge and rose breeder

Combe v. Edwards (1878), L. R. 3 P. D. 142.

Justice, Law, Way, Personality

“I sat, just watching the moon creep up, and hearing the thin, dry rustle of the leaves along the holly hedge. And there came to me this thought: What is this Universe — that never had beginning and will never have an end — but a myriad striving to perfect pictures never the same, so blending and fading one into another, that all form one great perfected picture? And what are we — ripples on the tides of a birthless, deathless, equipoised Creative-Purpose — but little works of Art?”

John Galsworthy (1867–1933) English novelist and playwright

Vague Thoughts On Art (1911)

Art, Universe, Perfection

“Our eye-beams twisted, and did thread
Our eyes, upon one double string;
So to entergraft our hands, as yet
Was all the means to make us one,
And pictures in our eyes to get
Was all our propagation.”

John Donne (1572–1631) English poet

The Extasy, line 7

“I always felt that Uncle Remus should be played by a living person, as should also the young boy to whom Harris' old Negro philosopher relates his vivid stories of the Briar Patch. Several tests in previous pictures, especially in The Three Caballeros, were encouraging in the way living action and animation could be dovetailed. Finally, months ago, we 'took our foot in hand,' in the words of Uncle Remus, and jumped into our most venturesome but also more pleasurable undertaking.”

Walt Disney (1901–1966) American film producer and businessman

As quoted in "The Movie: Background". Song of the South.net. Retrieved 2007-01-18.

Pleasure, Way, Boy, Animals

“Well, it's the only picture I ever wanted to own ['Three Bathers' of Cézanne ]. It's a Cézanne and the joy of my life. I saw it about a year ago in an exhibition and I was stunned by it. I didn’t sleep for two or three nights trying to decide whether to... To me it is marvelous. Monumental... It's not perfect, it’s a sketch. But then I don't like absolute perfection. I believe one should make a struggle towards something one can't do rather than do the thing that comes easily. Perhaps another reason is why I fell for it is that the type of woman he portrays is the same kind as I like. Each of the figures I could turn in into a piece of sculpture, very simple. Not young girls but that wide, broad, mature woman. Matronly.”

Henry Moore (1898–1986) English artist

1955 - 1970

Life, Girl, Sleep, Joy

“Another Visitor: How did you manage, Monsieur Degas, when you painted that plein air called 'Le Plage', the one Monsieur Rouart has?
Degas: It was quite simple. I spread my flannel vest on the floor of the studio, and had the model sit on it. You see, the air you breathe in a picture is not necessarily the same as the air out of doors.”

Edgar Degas (1834–1917) French artist

"The Crime and the Punishment" (p. 47)
posthumous quotes, Degas: An Intimate Portrait' (1927)

Painting

“[T]his film offers a nightmare image: the "Black Rebels," an outlaw motorcycle gang — a leather-jacketed pack who resemble storm troopers — terrorize a town. Their emblem is a death's head and crossed pistons and rods, and Marlon Brando, in his magnetic, soft-eyed youth, is their moody leader. The picture seemed to be frightened of its subject — the young nihilists who say "no" to American blandness and conformity — and reduced it as quickly as possible to the trivial meaninglessness of misunderstood boy meets understanding girl (Mary Murphy), but the audience savored the possibilities, and this clumsy, naive film was banned and argued about in so many countries that it developed a near-legendary status.”

Pauline Kael (1919–2001) American film critic

"The Wild One," p. 838.
5001 Nights at the Movies (1982)

Death, Youth, Girl, Boy

“Quantum physicists today are reconciled to randomness at the individual event level, but to expect causality to underlie statistical quantum phenomena is reasonable. Suppose a person shakes an ink pen such that ink spots are formed on a white wall, in what appears for all intents and purposes, randomly. Let us further suppose the random ink spots accumulate to form precise pictures of different known persons' faces every time. We will not regard the overall result to be a happenchance; we are apt to suspect there must be a "method" to the person who is shaking the ink pen.”

Ravi Gomatam (1950) Indian academic

R.Gomatam’s response http://www.bvinst.edu/gomatam/pub-2006-01%20original.htm to Nobel Laureate Steven Weinberg's article "Einstein's Mistakes" published in Physics Today, Volume 59, Issue 4, Letters http://www.physicstoday.org/resource/1/phtoad/v59/i4/p10_s1?bypassSSO=1, October, 2005.

Appearance, Time, Personality

“The real horror is mass production. Painting when there is no compulsion to do so… …Pictures like that are all unpunished crimes.”

Bram van Velde (1895–1981) Dutch painter

short quotes, 3 April 1972; p. 86
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Painting

“.. it is only in this way, or almost, that a portrait can be painted today [because] all the things punt into the picture have the same importance, they are in the right place.”

Giorgio Morandi (1890–1964) Italian painter

Quote of Morandi on a self-portrait by the painter Henri Rousseau; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d’Arte Moderna di Bologna, 2008; p. 54
1925 - 1945

Way, Painting

“As far as they were concerned, gunfire was nothing but noise. That’s why wars can keep going. Even the people who make them, who fight in them, don’t really get the picture. Even with a bullet in their gut, they’d go on picking up old shoes that “might come in handy.” The way a sheep, lying on its side in a meadow, will keep on grazing with its dying breath. Most people don’t die until the last moment; others start twenty years in advance, sometimes more. Those are the unfortunates.”

Louis-ferdinand Céline book Journey to the End of the Night

Source: Journey to the End of the Night (1932), Chapter 4

War, People, Shoe, Way

“None of the free [ a. o. his first religious] imaginative pictures that I painted at this time [c.1909] or later, had any kind of model, or even a clearly conceived idea. It was quite easy for me to imagine a work right down to its smallest details, and in fact my preconceptions were usually far more beautiful than the painted outcome: I became the copyist of the idea. Therefore I liked to avoid thinking about a picture beforehand, all I needed was a vague idea of luminescences of colour. The work then developed of its own accord under my hands.”

Emil Nolde (1867–1956) German artist

Nolde's quote c. 1909; as cited by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 81
1900 - 1920

Beauty, Imagination, Idea, Thinking

“What I have to express is not handled with words. It must 'come' tot the observer. It must carry its influence over the mind of the individual into that region of him which is more than the mind. The pictures must reach inwards into the deeper experiences of the beholder – and mind you they care in no sense religious tracts – there is no story to them or literature – no morals – they are merely artistic expressions of mystical states – these in themselves being my own personal motives as drawn from either special experiences or aggregate ones.”

Marsden Hartley (1877–1943) American artist

letter to Alfred Stieglitz, September 28, 1913, Hartley Archive, Yale University; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 9
1908 - 1920

Literature, Motivation, Sense, Personality

“Games run primarily on music loops. Each piece is composed to cycle during gameplay so it’s important to create music that doesn’t get monotonous or annoying and has very exact pacing. The use of themes, signature motifs and rhythmic passages needs to be arranged so they remain effective when played over and over. In a film, it’s a one-time-through experience. Tracks are scored tightly to picture and each track is crafted to exactly match what’s going on on-screen. Scoring in such a precise manner wouldn’t be practical in games because of the dynamic environment of gameplay. It can be different each time you revisit a level or area of a game, whereas a film is intended to play one way every time.”

Michael Wandmacher (1967) composer

Exclusive Interview: Composer Michael Wandmacher discusses his Voice from the Stone score and more https://www.flickeringmyth.com/2017/09/interview-composer-michael-wandmacher-discusses-his-voice-from-the-stone-score-more/ (September 16, 2017)

Music, Way, Game, Time

“You cannot imagine the pleasure you are giving me. This woman and this infant [of an old picture, made in his early years] are my own family. The baby was in its cradle one fine summer day; the mother had fallen asleep beside it. In one hour I did the sketch from nature. It used to hang over my bed, and it cheered my awakening every day for years. Then arrived a morning when we were more in want of necessaries than usual. A dealer came along and offered me a hundred and fifty francs.... he insisted on taking that one in particular. As ill luck would have it, my rent was due next day. I was not in a position to be too particular. He gave me a bank note of one hundred francs, and ten hundred-sous pieces. I made him out a receipt, and he never perceived that he was carrying off a bit of my heart. Ah!, it was hard.”

Narcisse Virgilio Díaz (1807–1876) French painter

Quote of Diaz, late 1860's, recorded by Albert Wolff, in Notes upon certain masters of the XIX century, - printed not published MDCCCLXXXVI (1886), The Art Age Press, 400 N.Y. (written after the exhibition 'Cent Chefs-d'Oeuvres: the Choiche of the French Private Galleries', Petit, Paris / Baschet, New York, 1883, p. 45-46
Albert Wolff, the interviewer, owned this little panel, painted by a young Diaz. It was fifteen centimeters big, and presented a baby lying in a cradle with the mother, guarding it. Wolff returned it to the old Diaz
Quotes of Diaz

Pleasure, Family, Imagination, Nature

“Almost all medieval Muslim historians credit their heroes with desecration of Hindu idols and/or destruction of Hindu temples. The picture that emerges has the following components, depending upon whether the iconoclast was in a hurry on account of Hindu resistance or did his work at leisure after a decisive victory:
1. The idols were mutilated or smashed or burnt or melted down if they were made of precious metals.
2. Sculptures in relief on walls and pillars were disfigured or scraped away or torn down.
3. Idols of stone and inferior metals or their pieces were taken away, sometimes by cartloads, to be thrown down before the main mosque in (a) the metropolis of the ruling Muslim sultan and (b) the holy cities of Islam, particularly Mecca, Medina and Baghdad.
4. There were instances of idols being turned into lavatory seats or handed over to butchers to be used as weights while selling meat.
5. Brahmin priests and other holy men in and around the temple were molested or murdered.
6. Sacred vessels and scriptures used in worship were defiled and scattered or burnt.
7. Temples were damaged or despoiled or demolished or burnt down or converted into mosques with some structural alterations or entire mosques were raised on the same sites mostly with temple materials.
8. Cows were slaughtered on the temple sites so that Hindus could not use them again.”

Sita Ram Goel (1921–2003) Indian activist

Hindu Temples – What Happened to Them, Volume I (1990)

Men, Decision, Victory, Dependency

“Thus it is with all pictures, there are many layers, and with good reason an analysis nearly always deals with the last [layer]. The last layer in a superficial sense. But how then can one talk of what one cannot see, the overpainted or wiped-off layers, how to go about for example, photographs that are like slates with layers which no longer exist. The answer is that they exists nevertheless, taken up into the visible layer by a rubbing-off, but the problem, on the whole, is how one deals with the visible layer. The angle-sure, viewpoint seeking and in the worse sense 'analytic' intercourse with the picture.”

Per Kirkeby (1938–2018) Danish artist

1965 - 1995, Bravura', Per Kirkeby, (1982)

Problem, Sense

“One can do such lovely things with so little. Subjects that are too beautiful end by appearing theatrical – take Switzerland, for example. Think of all the beautiful little things Corot did at Gisors; two willows, a little water, a bridge, like the picture in the Universal Exhibition. What a masterpiece!... Everything is beautiful, all that matters is to be able to interpret.”

Camille Pissarro (1830–1903) French painter

In a letter to his son Lucien, 26 July 1892, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 146
Quote of Pissarro, referring to a willow-painting of his former art-teacher Camille Corot
1890's

Love, Beauty, Thinking, Universe

“The whole Renaissance tradition is antipathic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cézanne and after him Picasso and myself can take a lot of credit for this.... scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.”

Georges Braque (1882–1963) French painter and sculptor

1946 - 1963, interview with John Richardson' (1957)

Art, Painting

“From the kids on the neighborhood Stag Athletic Club baseball team on the Hill. We went to a movie one afternoon, and there was one of those yogi characters in the picture. Coming out of the joint, one of the kids looked at me, started laughing, and said: "Hey, Berra walks just like that yogi in the movie."”

Yogi Berra (1925–2015) American baseball player, manager, coach

I've been Yogi ever since. As quoted in "Yogi Credits Dickey For His Climb" https://news.google.com/newspapers?id=ykIaAAAAIBAJ&sjid=tCMEAAAAIBAJ&pg=6640%2C6523488 by Harry Grayson, in The Hendersonville Times-News (Thursday, November 22, 1951), p. 8.

“My head's a carousel of pictures and
The spinning never stops.”

Conor Oberst (1980) American musician

Nothing Gets Crossed Out
Lifted or The Story Is in the Soil, Keep Your Ear to the Ground (2002)

“The Birds could be the most terrifying motion picture I have ever made.”

Alfred Hitchcock (1899–1980) British filmmaker

Movie trailer for the 1960s film The Birds.

Bird

“Sound and talking undoubtedly increase the entertainment value of a picture. There is a distinct conflict, however, between a pictorial and sound elements, which cannot be entirely avoided until third dimensional pictures are made.”

William Moulton Marston (1893–1947) American psychologist, lawyer, inventor and comic book writer

Jill Lepore, The Secret History of Wonder Woman (2014), p. 139.

“We must bear in recollection that the sentiment of the picture is that of solemnity, not gaiety & nothing garish, but the contrary — yet it must be bright, clear, alive fresh, and all the front seen.”

John Constable (1776–1837) English Romantic painter

Letter to David Lucas (15 February 1836), on the mezzo print of the 'Salisbury Cathedral from the Meadows'; as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 37
1830s

“(E)ven within the realm of the strictly scientific; we need constant touch with the concrete realities of living nature to prevent our picturing her as exclusively such as we make her in our specialties and in our private dreams.”

Ralph Vary Chamberlin (1879–1967) American biologist (1879-1967)

"Science and Reality" (1931) Bios Vol. 2, No. 1 , p. 39

Dreams, Nature, Reality

“Ruskin says that anyone who expects perfection from a work of art knows nothing of works of art. This is an appealing sentence that, so far as I can see, is not true about a few pictures and statues and pieces of music, short stories and short poems. Whether or not you expect perfection from them, you get it; at least, there is nothing in them that you would want changed. But what Ruskin says is true about novels: anyone who expects perfection from even the greatest novel knows nothing of novels.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 47
The Third Book of Criticism (1969)

Art, Music, Change, Perfection

“With usura hath no man a house of good stone
each block cut smooth and well fitting
[…]
with usura
hath no man a painted paradise on his church wall
[…]
no picture is made to endure nor to live with
but it is made to sell and sell quickly”

Ezra Pound The Cantos

Canto XLV
Regarding usura, in 1972 Pound wrote in the foreword to "Selected Prose, 1909-1965":
<blockquote>"re USURY
I was out of focus, taking a symptom for a cause.
The cause is AVARICE."</blockquote>
The Cantos

Painting, Housing

Quotes about picture page 15

Quotes about picture
page 15