Quotes about picture
page 18

“SEVENTH, the text of a newspaper must tell the news.
The headlines must tell the news.
The pictures must tell the news.
The subheads and subtitles must tell the news.
Please see that the newspapers perform this function.”

William Randolph Hearst (1863–1951) American newspaper publisher

Instructions to E.D. Coblentz (March 1, 1938)

“Science Digest asked me to see the movie Close Encounters of the Third Kind and write an article for them on the science it contained. I saw the picture and was appalled. I remained appalled even after a doctor’s examination had assured me that no internal organs had been shaken loose by its ridiculous soundwaves. (If you can’t be good, be loud, some say, and Close Encounters was very loud.) … Hollywood must deal with large audiences, most of whom are utterly unfamiliar with good science fiction. It has to bend to them, meet them at least half-way. Fully appreciating that, I could enjoy Planet of the Apes and Star Wars. Star Wars was entertainment for the masses and did not try to be anything more. Leave your sophistication at the door, get into the spirit, and you can have a fun ride. … Seeing a rotten picture for the special effects is like eating a tough steak for the smothered onions, or reading a bad book for the dirty parts. Optical wizardry is something a movie can do that a book can’t but it is no substitute for a story, for logic, for meaning. It is ornamentation, not substance. In fact, whenever a science fiction picture is praised overeffusively for its special effects, I know it’s a bad picture. Is that all they can find to talk about?”

Isaac Asimov (1920–1992) American writer and professor of biochemistry at Boston University, known for his works of science fiction …

"Editorial: The Reluctant Critic", in Isaac Asimov’s Science Fiction Magazine, Vol. 2, Issue 6, (12 November 1978) https://archive.org/stream/Asimovs_v02n06_1978-11-12/ General sources

War, Books, Way, Star

“It seems to me that today, if the artist wishes to be serious — to cut out a little original niche for himself, or at least preserve his own innocence of personality — he must once more sink himself in solitude. There is too much talk and gossip; pictures are apparently made, like stock-market prices, by competition of people eager for profit; in order to do anything at all we need (so to speak) the wit and ideas of our neighbors as much as the businessmen need the funds of others to win on the market. All this traffic sharpens our intelligence and falsifies our judgment.”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebook entry c. 1860's; as quoted in Artists on Art: From the XIV to the XX Century, ed. Robert Goldwater (Pantheon, 1945)
1855 - 1875

People, Intelligence, Idea, Solitude

“PROUN alters the conventional forms of the arts and leaves behind the image of the petty individualist, who locked himself in his office and hid seated before a drawing easel, starting one picture and finishing another.
The future life — this is the reinforced concrete slab for the communist foundation of the nations of the entire world. With the aid of the PROUN one can build a unified city-commune on that foundation, intended for the life of all mankind.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

Life, World, Art, Communication

“Canada is like several puzzles that we are all working on at the same time. Everyone has a part to add, but no one has seen the whole picture yet.”

B. W. Powe (1955) Canadian writer

Second Meditation, p. 128
Towards a Canada of Light (2006)

Time, Parting

“Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe. It's a very archaic form. Same things can be said with words, writing poetry, making sounds, music. It is a unique thing.... I think that the original revolutionary impulse behind the New York School, as I felt it anyway, and as I think my colleagues felt and the way we talked all the time, was a kind of a.... you felt as if you were driven into a corner against the wall, with no place to stand, just the place you occupied as if the act of painting was not making a picture.... it was as if you had to prove to yourself that truly the act of creation was still possible.... I felt as if I was talking to myself, having a dialectical monologue with myself to see if I could create.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 66

School, Music, Way, Imagination

“At that time [c. 1904 – 1905] I tried, by means of lines and by distribution of mottled points of colours [in his tempera painting on paper: 'Russian Beauty in a Landscape', 1905] to express the musical spirit of Russia. Other pictures of that period reflected the contradictions and later the eccentricities of Russia.”

Wassily Kandinsky (1866–1944) Russian painter

Source: 1916 -1920, Autobiography', 1918, p. 29

Beauty, Music, Time, Painting

“This is a work which ought to be in every library in Canada; perhaps, after twenty-five years or so, it might silence the recurrent hubbub about nude paintings which is a feature of our national life. Yes, they are erotic. Yes, madam, the painters are often naughty men, and the models are sometimes bad girls. But there are elements involved in the painting of the nude which draw upon what is highest in art and express what is highest in mankind. Now, may we please look at the pictures?”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Review of The Painter's Eye and The Nude (1957).

Life, Men, Art, Girl

“…he (a photographer) forgets that unless he has learnt when the tones of a picture are right or not, he will not know whether his work is good or bad, nor know what to try and overcome in future.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, The photographic print, p. 36

Future, Forgetting

“I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.”

Lucian Freud (1922–2011) British painter and engraver

Said in conversation with Robert Hughes and quoted in Hughes' Lucian Freud: Paintings (1987) ISBN 0-500-27535-1, p. 14
Lucian Freud : Paintings (1987)

Life, Hope, Art

“The famous nude artist, Pricasso, who uses his member to paint, was kept busy swishing his "brush" over the canvas. He was quite a drawcard - and many a male observer whipped out his cellphone to take a picture.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Sexpo's popularity profitable for entrepreneurial granny, 6 February 2009, 5, Independent Online]
About

Business, Painting

“[The decisionmaking role of the firm has progressed from the neoclassical standpoint of profit maximization to sales maximization, utility maximization, and satisficing. From the Operation Research point of view] …the ideal picture is that someone, presumable the firm that hires the operations researcher, hands him, on a silver platter, an objective function. By talking to the engineers, or by looking into a few scientific laws, he determines the policy alternatives available and also the model”

Kenneth Arrow (1921–2017) American economist

Source: 1970s-1980s, The Economics of Information (1984), p. 55 as cited in: Demetri Kantarelis (2008) " Book Review: Title: Theories Of The Firm 2nd Edition http://www.inderscience.com/books/TOF_american_econ_review.pdf". In: The American economist. Vol 52, Nr 1. p. 117

Law

“There is an impelling proportion of tones that may lead me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of a composition I strive towards it and keep on working. Then a moment comes when all the parts have found their definite relationships, and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely.”

Henri Matisse (1869–1954) French artist

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

Change, Parting

“And all I get is cheese, like I'm taking Pictures”

2 Chainz (1977) American rapper from Georgia

No Lie Featuring Drake.
2010s, 2012, Based on a T.R.U. Story (2012)

“So I would say, blanket, from the time I was 17 until I was 20 [1945-48] when I graduated from Bennington [Art College] as far as painting went I had a depth analysis of what made Cubism work and its revolution, and all it opened up. And in history it was just the right moment to get it.... I did in my senior show two little pictures that are every bit as good, though I think ex post facto, nothing can be every bit as good ever - the way the best 'drip' Pollock made four years later than the best drip Pollock is not good -. But I could do Braque-s and Picasso-s that were angelic and completely understood, I mean really. I mean Paul [ [Paul Feeley ] really honored me and by that time it was a friendship, it wasn't a --. I mean our lives were in each other.”

Helen Frankenthaler (1928–2011) American artist

quote about her Bennington-years 1945-48
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Friendship, Art, Angels, Way

“The image of ourselves in the minds of others is the picture of a stranger we shall never see.”

Elizabeth Bibesco (1897–1945) writer, actress; Romanian princess

Haven (1951)

“We analyzed the first stage of our construction, confined to two-dimensional space, and found it to be as durable and resistant as the earth itself. We build in this space just as we would on the ground, and therefore must take as our point of departure the concepts of gravity and force of attraction, as the foundation of everything built on the land. In PROUN the reciprocity of the effects of gravity [Newton, 'for every action an equal and opposite reaction'] manifests itself in a new capacity. We see that on the surface (plane) of the picture, the PROUN ceases to exist as such and becomes a building surveyed from every direction — considered from above or examined from below. The result of this turns out to be the destruction of the single axis that leads to the horizon.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

Departure

“In Tehran university, at the math club, where I was studying the pictures of Fields medalists were lining the walls. I looked at them and said to myself, ‘Will I ever meet one of these people?’ At that time in Iran, I couldn’t even know that I’d be able to go to the West.”

Caucher Birkar (1978) Kurdish mathematician

"An innovator who brings order to an infinitude of equations" Quanta Magazine (2018)

People, Study, Universe, Time

“Music is for me like a beautiful mosaic which God has put together. He takes all the pieces in his hand, throws them into the world, and we have to recreate the picture from the pieces.”

Jean Sibelius (1865–1957) Finnish composer of the late Romantic period

Quoted by Jalmari Finne, June 28, 1905. http://www.sibelius.fi/english/omin_sanoin/ominsanoin_16.htm

God, World, Beauty, Music

“Remember that a picture, before being a battle horse, a female nude or some sort of anecdote, is essentially a flat surface covered with colors assembled in a certain order.”

Maurice Denis (1870–1943) French painter

1890 - 1920

Color, Horse

“Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that... We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

People, Art, Painting

“This evening, I had the opportunity to speak with President-elect Donald Trump to discuss recent media reports about our briefing last Friday. I expressed my profound dismay at the leaks that have been appearing in the press, and we both agreed that they are extremely corrosive and damaging to our national security.
We also discussed the private security company document, which was widely circulated in recent months among the media, members of Congress and Congressional staff even before the IC became aware of it. I emphasized that this document is not a U. S. Intelligence Community product and that I do not believe the leaks came from within the IC. The IC has not made any judgment that the information in this document is reliable, and we did not rely upon it in any way for our conclusions. However, part of our obligation is to ensure that policymakers are provided with the fullest possible picture of any matters that might affect national security.
President-elect Trump again affirmed his appreciation for all the men and women serving in the Intelligence Community, and I assured him that the IC stands ready to serve his Administration and the American people.”

James Clapper (1941) US government official

DNI Clapper Statement on Conversation with President-elect Trump. January 11, 2017. Full text available on Wikimedia Commons.

Women, Men, People, Way

“I'm not going to worry any more. It isn't worth it. Look at 'Show Boat.' I worried myself sick over it. I knew the public wouldn't like it. But they do and it has broken all kind of records. Yes, I decided while I was in Europe this summer that I'd never worry again. I shall laugh blithely all through 'Theodora Goes Wild.' That's the picture I'm doing now for Columbia, you know. It's different from anything I've ever done before, and it's a comedy, and I'm going to laugh and be gay and never give a thought to worry.”

Irene Dunne (1898–1990) American actress

Preofections - Irene Dunne, by Elizabth Wilson; Silver Screen (November 1936) http://www.irenedunnesite.com/press/silver-screen-november-1936/.

Summer

“I wish I had a pencil-thin mustache,
the "Boston Blackie" kind.
Or a two-toned Ricky Ricardo jacket,
And an autographed picture of Andy Divine.”

Jimmy Buffett (1946) American singer–songwriter and businessman

Pencil Thin Mustache
Song lyrics, Living & Dying in 3/4 Time (1974)

“…the strongest part of a picture is the sensation and the feeling which it creates, this being done through the agency of certain familiar objects more or less accurately depicted and represented with more or less completeness.
The MOTIVE, then, in all pictorial work is to convey some thought or idea or sensation by means of a chosen subject.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, The application of the foregoing principles, p. 12

Feeling, Motivation, Idea, Parting

“If one could only fly over the Earth and show everybody, Chinese gardeners live side by side in old fashion. Next to them a capitalist germ cell which puts its feelers out into the country! See the factory chimney smoking! Ships come and go. And in the North, nomads and tribes of hunters who don’t know anything of a capitalist order even though they sell furs to entrepreneurs. A sharpened eye would be able to grasp this. All of this can be grasped and represented in pictures!”

Otto Neurath (1882–1945) austrian economist, philosopher and sociologist

Otto Neurath (1928), "Kolonialpolitische Aufklärung durch Bildstatistik," Arbeit und Wirtschaft, Vol. 15: p. 677 (reprinted in Neurath 1991, Bildpädagogische Schriften: 130); Translated and cited in Nikolow (2013; 88)
1920s

Fashion, Flying, Country

“I know that the Crusaders of Majorca put to death, in a single night, all the prisoners who were huddled in the Catalonian trenches. They took the whole herd down to the shore and shot them, one beast at a time - they were quite leisurely about it. The Lord High Archbishop of Palma arranged to be represented at the ceremony, by a certain number of his priests. You can picture the scene can't you? 'Come on, father, isn't that one ready?' - 'Just a moment captain, I'm handing him over to you at once.' When the job was finished, the Crusaders piled their cattle in two heaps - those who'd been given absolution and those who hadn't- then sprinkled petrol over them. It is quite likely that this purification by fire may then have taken on, by reason of the presence of priests officiating a liturgical significance. Unfortunately I only saw these blackened, shiny creatures two days after that, contorted by the flames, some of them counterfeiting obscene poses in death, which must have been very distressing for the ladies of Palma and for their eminent confessors. A reeking tar oozed out of them…”

Georges Bernanos book Les grands cimetières sous la lune

Source: Les grands cimetieres sous la lune (A Diary of My Times) 1938, p.153-154

Death, Time, Night

“As I was writing about Grace Marks, and about her interlude in the Asylum, I came to see her in context — the context of other people's opinions, both the popular images of madness and the scientific explanations for it available at the time. A lot of what was believed and said on the subject appears like sheer lunacy to us now. But we shouldn't be too arrogant — how many of our own theories will look silly when those who follow us have come up with something better? But whatever the scientists may come up with, writers and artists will continue to portray altered mental states, simply because few aspects of our nature fascinate people so much. The so-called mad person will always represent a possible future for every member of the audience — who knows when such a malady may strike? When "mad," at least in literature, you aren't yourself; you take on another self, a self that is either not you at all, or a truer, more elemental one than the person you're used to seeing in the mirror. You're in danger of becoming, in Shakespeare's works, a mere picture or beast, and in Susanna Moodie's words, a mere machine; or else you may become an inspired prophet, a truth-sayer, a shaman, one who oversteps the boundaries of the ordinarily visible and audible, and also, and especially, the ordinarily sayable. Portraying this process is deep power for the artist, partly because it's a little too close to the process of artistic creation itself, and partly because the prospect of losing our self and being taken over by another, unfamiliar self is one of our deepest human fears.”

Margaret Atwood (1939) Canadian writer

Ophelia Has a Lot to Answer For (1997)

People, Truth, Fear, Literature

“Looking at the universe as a whole; cosmology, the birth, life and death of the whole universe, we used to have a nice simple model. Then we had to add things like dark energy, and our nice simple picture is getting messier and messier and messier.”

Jocelyn Bell Burnell (1943) British scientist

Beautiful Minds (2010)

Life, Death, Birth, Universe

“The bottom line is more tax money is going to be needed. Just how much will be the primary issue on the agenda when Congressional leaders meet with the President later today, Wednesday, May the 9th, 1990. And good morning, welcome to Today. It’s a Wednesday morning, a day when the budget picture, frankly, seems gloomier than ever. It now seems the time has come to pay the fiddler for our costly dance of the Reagan years.”

Bryant Gumbel (1948) American sportscaster

Leading off Today, May 9, 1990 Real Video http://www.mediaresearch.org/rm/projects/99/Gumbel2/segment1.ram

Money, Time, Dance

“$400 million in all cash, anybody know what that looks like? That's a lot of cash. That's a lot of case. And honestly, it's so sad. Think of it, going to Iran, a terrorist state. Now I happen to think they have plenty of money, we've given then $150 billion, so the $400 million is just, you know – I happen to think it goes into their accounts in Switzerland personally. Now, a lot of people say, "no, no, it's used for terror," and they use it for terror because it's the number one terror funder – not even close. But I also think that when you have $400 million in cash, different denominations, do you see the size of this? I guess they did release the pictures after all. They released pictures. … Obama said that he did it because we don't have a working account with Iran. Do you believe that? How long does it take to set up an account? Right? You don't have a working account, you set up an account, right?”

Donald J. Trump (1946) 45th President of the United States of America

2010s, 2016, August, Speech at rally in Wilmington, North Carolina (August 9, 2016)

Money, People, Sadness, Thinking

“[JawlenskyPickWerefkin] Yes, we [ Marianne Werefkin and Gabriéle] shared very much the same tastes and ideas, when we lived together in this house (the so-called 'Russian house' in Murnau]. She was extremely perceptive and intelligent, but Jawlensky [living with Marianne Werefkin] didn't always approve her work... Suddenly Jawlensky would pick on some tiny detail of one of Marianne's best and most original pictures and exclaim: 'That patch of color, there, is laid on much too flat and smoothly. It's just like old Riepin' [famous Russian painter Ilya Repin ] and their common former teacher in Russia]. Of course it was nonsense and he was only saying it to annoy her. But Jawlensky really was a devotee of the 'touche de peinture' of the French Fauvists, rather than an innovator, a believer in a new kind of art of the future.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), pp. 118-119

Art, Color, Intelligence, Idea

“Instead of getting a cross-sectional picture of the community at a particular point in time, I was dealing with a time sequence of interpersonal events.”

William Foote Whyte book Street Corner Society

Source: Street Corner Society, 1943, p. 358

Communication, Time

“The diagram on the opposite page, similar in plan and purpose to one devised by Mr. M. C. Rorty, represents, in a general way, the circuit flow of money. To find fault with this diagram from an engineering standpoint would not be difficult; neither would it be sensible. All we should ask of these reservoirs and pipes is that they serve the purpose at hand. In the main, subject to certain qualifica qualifications to be made presently, this diagram does serve our purpose. It pictures the flow of money when business is relatively stable.”

William Trufant Foster (1879–1950) American economist

Source: The circuit flow of money, 1922, p. 262

Money, Way, Business

“A little boy and a little girl were looking at a picture of Adam and Eve. "Which is Adam and which is Eve?" said one. "I do not know," said the other, "but I could tell if they had their clothes on."”

Samuel Butler (1835–1902) novelist

Adam and Eve
The Note-Books of Samuel Butler (1912), Part XVI - Written Sketches

Girl, Boy, Clothes

“Visitor: Monsieur Degas, were there any of Monet's pictures at the Durand-Ruel exhibition?
Degas: Why, I met Monet himself there, and I said to him, 'Let me get out of here. Those reflections in the water hurt my eyes!' His pictures were always too draughty for me. If it had been any worse I should have had to turn up my coat collar.”

Edgar Degas (1834–1917) French artist

"The Crime and the Punishment" (p. 46)
posthumous quotes, Degas: An Intimate Portrait' (1927)

Water, Hurt

“My monochrome pictures are not my definite works, but the preparation for my works. They are the left-overs from the creative processes, the ashes. My pictures, after all, are only the title-deeds to my property which I have to produce when I am asked to prove that I am a proprietor.”

Yves Klein (1928–1962) French artist

In 1957; p. 35
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

“At present we are living through an unusual period in time a new cosmic creation has become reality in the world, a creativity within ourselves which pervades our consciousness.... in this way the artist became the foundation on which progress in the reconstruction of life could advance beyond the frontiers of the all-seeing eye and the all-hearing ear. Thus a picture was no longer an anecdote nor a lyric poem nor a lecture on morality nor a feast for the eye but a sign and symbol of this new conception of the world which comes from within us.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Suprematism' in World Reconstruction (1920)

Life, World, Way, Reality

“Playboy: Then for now, aren't you asking home-computer buyers to invest $3000 in what is essentially an act of faith?
Jobs: In the future, it won't be an act of faith. The hard part of what we're up against now is that people ask you about specifics and you can't tell them. A hundred years ago, if somebody had asked Alexander Graham Bell, "What are you going to be able to do with a telephone?" he wouldn't have been able to tell him the ways the telephone would affect the world. He didn't know that people would use the telephone to call up and find out what movies were playing that night or to order some groceries or call a relative on the other side of the globe. But remember that first the public telegraph was inaugurated, in 1844. It was an amazing breakthrough in communications. You could actually send messages from New York to San Francisco in an afternoon. People talked about putting a telegraph on every desk in America to improve productivity. But it wouldn't have worked. It required that people learn this whole sequence of strange incantations, Morse code, dots and dashes, to use the telegraph. It took about 40 hours to learn. The majority of people would never learn how to use it. So, fortunately, in the 1870s, Bell filed the patents for the telephone. It performed basically the same function as the telegraph, but people already knew how to use it. Also, the neatest thing about it was that besides allowing you to communicate with just words, it allowed you to sing.
Playboy: Meaning what?
Jobs: It allowed you to intone your words with meaning beyond the simple linguistics. And we're in the same situation today. Some people are saying that we ought to put an IBM PC on every desk in America to improve productivity. It won't work. The special incantations you have to learn this time are "slash q-zs" and things like that. The manual for WordStar, the most popular word-processing program, is 400 pages thick. To write a novel, you have to read a novel—one that reads like a mystery to most people. They're not going to learn slash q-z any more than they're going to learn Morse code. That is what Macintosh is all about. It's the first "telephone" of our industry. And, besides that, the neatest thing about it, to me, is that the Macintosh lets you sing the way the telephone did. You don't simply communicate words, you have special print styles and the ability to draw and add pictures to express yourself.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

Steve Jobs, Playboy, Feb 1985, as quoted in “Steve Jobs Imagines 'Nationwide' Internet in 1985 Interview” https://paleofuture.gizmodo.com/steve-jobs-imagines-nationwide-internet-in-1985-intervi-1671246589, Matt Novak, 12/15/14 2:20pm Paleofuture, Gizmodo. 1980s

People, World, Faith, Way

“If there was in all France, between 1140 and 1200, a more typical Englishman of the future Church of England type than John of Salisbury, he has left no trace; and John wrote a description of his time which makes a picturesque contrast with the picture painted by Abélard, his old master, of the century at its beginning. John weighed Abélard and the Schools against Bernard and the Cloister, and coolly concluded that the way to truth lay rather through Citeaux, which brought him to Chartres as Bishop in 1176, and to a mild scepticism in faith. "I prefer to doubt," he said, "rather than rashly define what is hidden."”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Truth, School, Faith, Way

“Economic man deals with the "real world" in all its complexity. Administrative man recognizes that the world he perceives is a drastic simplified model… He makes his choices using a simple picture of the situation that takes into account just a few of the factors that he regards as most relevant and crucial.”

Herbert A. Simon book Administrative Behavior

Source: 1940s-1950s, Administrative Behavior, 1947, p. xxix; As cited in: Jesper Simonsen (1994) Administrative Behavior: How Organizations can be Understood in Terms of Decision Processes http://jespersimonsen.dk/Downloads/Simon-introduction.pdf. Roskilde Universitet.

World

“and here I give it under my hand that I will most willingly begin upon a new canvas [after his first portrait of Lady Dartmouth was criticized and rejected]. But I only for the present beg your Lordship will give me leave to try an experiment upon that picture to prove the amazing effect of dress. I meant to treat it as a cast-off picture and dress it (contrary, I know, to Lady Dartmouth's taste) in the modern way; the worst consequence that can attend it will be her ladyship's being angry with me for a time. I am vastly out in my notion if the face does not immediately look like; but I must know if Lady Dartmouth powders or not in common. I only beg to know that and to have the [first] picture sent down [back] to me..”

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

Quote from Gainborough's letter to Lord Dartmouth, 13 April 1771; 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. 74 1770 - 1788

Way, Time

“[Fox] exhibited two pictures of this country; the one representing her at the end of the last glorious war, the other at the present moment. At the end of the last war this country was raised to a most dazzling height of splendour and respect. The French marine was in a manner annihilated, the Spanish rendered contemptible; the French were driven from America; new sources of commerce were opened, the old enlarged; our influence extended to a predominance in Europe, our empire of the ocean established and acknowledged, and our trade filling the ports and harbours of the wondering and admiring world. Now mark the degradation and the change, We have lost thirteen provinces of America; we have lost several of our Islands, and the rest are in danger; we have lost the empire of the sea; we have lost our respect abroad and our unanimity at home; the nations have forsaken us, they see us distracted and obstinate, and they leave us to our fate. Country! …This was your situation, when you were governed by Whig ministers and by Whig measures, when you were warmed and instigated by a just and a laudable cause, when you were united and impelled by the confidence which you had in your ministers, and when they were again strengthened and emboldened by your ardour and enthusiasm. This is your situation, when you are under the conduct of Tory ministers and a Tory system, when you are disunited, disheartened, and have neither confidence in your ministers nor union among yourselves; when your cause is unjust and your conductors are either impotent or treacherous.”

Charles James Fox (1749–1806) British Whig statesman

Speech in the House of Commons (27 November 1781), reprinted in J. Wright (ed.), The Speeches of the Rt. Hon. C. J. Fox in the House of Commons. Volume I (1815), p. 429.
1780s

Fate, War, World, Home

“Accordingly the primordial state of things which I picture is an even distribution of protons and electrons, extremely diffuse and filling all (spherical) space, remaining nearly balanced for an exceedingly long time until its inherent instability prevails. We shall see later that the density of this distribution can be calculated; it was about one proton and electron per litre. There is no hurry for anything to begin to happen. But at last small irregular tendencies accumulate, and evolution gets under way. The first stage is the formation of condensations ultimately to become the galaxies; this, as we have seen, started off an expansion, which then automatically increased in speed until it is now manifested to us in the recession of the spiral nebulae.

As the matter drew closer together in the condensations, the various evolutionary processes followed—evolution of stars, evolution of the more complex elements, evolution of planets and life.”

Arthur Stanley Eddington (1882–1944) British astrophysicist

pp. 56–57 https://books.google.co.uk/books?id=KHyV4-2EyrUC&pg=PA56 The Expanding Universe (1933)

Life, Way, Star, Time

“The process which has led us to this result, and which might justifiably be called a Critique of all Scepticism, yields also the final impossibility of materialism in a still clearer way than we noticed before. We saw, some distance back, that the actual of sense could by no possibility be the source of consciousness, being, on the contrary, its mere phenomenon — its mere externalised presentation (picture-object) originated from within. But the hypothetical potential of sense, the assumed subsensible substance called matter, we have now seen to be precisely that self-contradiction talked of as the physical thing-in-itself, and it therefore disappears from the real universe along with that illusion. We have, then, a definitive Critique of all Materialism.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), Later German Philosophy, p.170-1

Way, Sense, Universe

“A scientist, an artist, a citizen is not like a child who needs papa methodology and mama rationality to give him security and direction, he can take care of himself, for he is the inventor not only of laws, theories, pictures, plays, forms of music, ways of dealing with his fellow man, institutions, but also entire world view, he is the inventor of entire forms of like.”

Paul Karl Feyerabend book Science in a Free Society

pg 38, italics are feyerabends.
Science in a Free Society (1978)

World, Law, Music, Way

“How will it be with my work a year hence? Well, Mauve [van Gogh's cousin and art-teacher, in The Hague] understands all this and he will give me as much technical advice as he can, - that which fills my head and my heart must be expressed in drawing or pictures.”

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

In his letter to brother Theo, from The Hague, The Netherlands in December 1881; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, p. 20 (letter 166) 1880s, 1881

Art, Understanding, Teachers, Heart

“We like to picture to ourselves the field of law as accurately mapped and plotted. We draw our little lines, and they are hardly down before we blur them. As in time and space, so here. Divisions are working hypotheses, adopted for convenience. … So also the duty of a judge becomes itself a question of degree, and he is a useful judge or a poor one as he estimates the measure accurately or loosely. He must balance all his ingredients, his philosophy, his logic, his analogies, his history, his customs, his sense of right, and all the rest, and adding a little here and taking out a little there, must determine, as wisely as he can, which weight shall tip the scales.”

Benjamin N. Cardozo (1870–1938) United States federal judge

Page 161
Other writings, The Nature of the Judicial Process (1921)

Law, History, Question, Sense

“I am forced to transpose until finally my picture may seem completely changed when, after successive modifications, the red has succeeded the green as the dominant color. I cannot copy nature in a servile way, I must interpret nature and submit it to the spirit of the picture – when I have found the relationship of all the tones the result must be a living harmony of tones, a harmony not unlike that of a musical composition”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 411

Music, Color, Way, Nature

“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. We are well aware that making sense and picturing are artificial, like illusion; but we can never give them up. For belief (thinking out and interpreting the present and the future) is our most important characteristic.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

God, Art, Search, Thinking

“I never thought of that, really, when I was younger, but when I started doing some of the autobiographical picture books, I realized that my family was a great treasure trove. We were pretty ordinary — we weren't really exceptional. I don't think my life growing up was really too much different from the average kid in Meriden, Connecticut at that time. But it's very different from young people today, so I like it that older people my age feel that it's helping them to remember their childhood. Little kids think it's like life on a different planet.”

Tomie dePaola (1934) American children's illustrator and writer

An Interview with Tomie dePaola http://katybeebe.com/wp-content/uploads/2013/11/car-2000-05-12-b-013.pdf (May 2000)

Life, People, Books, Age

“There's a line in the picture where he snarls, "Nobody tells me what to do." That's exactly how I've felt all my life.”

Marlon Brando (1924–2004) American screen and stage actor

Marlon Brando, Portraits and Film Stills 1946-1995 (1996) Speaking about the film The Wild One (1953).

Life

“Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 9-10 : 'Notes from 1969'

Art, Painting

“An enterprise architecture can be thought of as a "blueprint" or "picture" which assists in the design of an enterprise. The enterprise architecture must define three things. First, what are the activities that an enterprise performs? Second, how should these activities be performed? And finally, how should the enterprise be constructed? Consequently, the architecture being developed will identify the essential processes performed by a virtual company, how the virtual company and the agile enterprises involved in the virtual company will perform these processes, and include a methodology for the rapid reconfiguration of the virtual enterprise.”

Donald H. Liles (1947) American engineer

William Barnett, Adrien Presley, Mary Johnson, and Donald H. Liles (1994) "An architecture for the virtual enterprise." Systems, Man, and Cybernetics, 1994.' Humans, Information and Technology'., 1994 IEEE International Conference on. Vol. 1. IEEE, 1994

“Since my world picture approximates reality only crudely, I cannot aspire to optimize anything; at most, I can aim at satisficing. Searching for the best can only dissipate scarce cognitive resources; the best is the enemy of the good.”

Herbert A. Simon (1916–2001) American political scientist, economist, sociologist, and psychologist

p.361
Source: 1980s and later, Models of my life, 1991, p. 361; As cited in Ronald J. Baker (2010) Implementing Value Pricing: A Revolutionary Business Model for Professional Firms. p. 122.

World, Search, Optimism, Reality

“Everything intellectual and transcendent is joined together in painting by the uninterrupted labour of the eyes. Each shade of a flower, a face, a tree, a fruit, a sea, a mountain, is noted eagerly by the intensity of the senses to which is added, in a way of which we are not conscious, the work of the mind, and in the end the strength or weakness of the soul... It is the strength of soul which forces the mind to constant exercise to widen its conception of space. Something of this is perhaps contained in my pictures.”

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

Source: 1930s, On my Painting (1938), p. 14

Way, Exercises, Soul, Mountain

“If we are to select our subjects or arrange our groups with a pictorial motive we must absolutely and entirely sacrifice every other consideration, and be prepared to cut out of our composition the prettiest and most interesting item, if by so doing composition pure and simple is improved. And if some subject you are attached to will not admit of composition or will not admit of your treating it pictorially, then photograph it if you wish, but never suppose that it will form a picture.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 29

Motivation

“She has forgotten speech and language and the restlessness of thoughts, has forgotten what is even greater restlessness, this self, has forgotten herself-she, the lost woman, who is now lost in her Savior, who, lost in him, rests at his feet-like a picture. He speaks about her; he says: Her many sins are forgiven her, because she loved much. Although she is present, it is almost as if she were absent; it is almost as if he changed her into a picture, a parable.”

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

Three Discourses at Friday Communion November 14, 1849 Hong translation 1997 P. 141
1840s, Three Discourses at the Communion on Fridays (1849)

Love, Change

“I want to give a picture of Dublin so complete that if the city suddenly disappeared from the earth it could be reconstructed out of my book.”

James Joyce Ulysses

Said in conversation with Frank Budgen, Zurich, 1918, as told by Budgen http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=turn&entity=JoyceColl.BudgenUlysses.p0092&id=JoyceColl.BudgenUlysses&isize=M&pview=hide in his book James Joyce and the Making of "Ulysses" (1934), ch. IV

Books

“Oh! moral of enjoyment! — scattered, crushed : —
The pale checks of the few that staid, like ghosts
Haunting the footsteps of departing mirth,
While the bright pictures over them looked down
Almost in mockery.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(17th July 1824) Poetic Sketches - 5th Series. Sketch the First. - Fidelity
The London Literary Gazette, 1824

“I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been death. It was Christmas or Labor Day - a holiday - and very time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see I gruesome picture over and over again, it doesn't really have any effect.”

Andy Warhol (1928–1987) American artist

Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Death, Time, Holiday, Christmas

“There is no doubt that Goya thought that one of the drugs chiefly responsible for the sleep of reason was the Church, and he had the lowest possible opinion of ecclesiastical institutions. However, this did not prevent him from painting religious pictures, completely sincerely because, like all Latin people, however little he believed in Christianity, he felt himself to be within the structure of the Catholic Church. One of his finest works was the decoration of a church near Madrid called S. Antonio de la Florida. He used the kind of device that would have appealed to Tiepolo. He painted a balcony round the drum of a cupola, and behind it he put a crowd of loiterers who are supposed to be watching the saint raise a man from the dead. Very few of them are interested in this unusual event. They are interested in each other or themselves, and show very well the curious tension between the individual and the collective, which is the essence of a crowd.”

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

Source: The Romantic Rebellion (1973), Ch. 3: Goya

People, Sleep, Painting, Sincerity

“I perceive the game in a different way. It's a question of viewpoints, of having a wide field of vision. Being able to see the bigger picture.”

Andrea Pirlo (1979) Italian footballer

I Think Therefore I Play, 2014 [p. 12]

Way, Game, Question

“The test of an abstract picture, for me, is not my first reaction to it, but how long I can stand it hanging on the wall of a room where I am living.”

John Betjeman (1906–1984) English poet, writer and broadcaster

John Piper (Penguin Books, 1944), p. 12.

“Have you ever seen a picture
Of Jesus laughing?
Mmm, do you think
He had a beautiful smile?
A smile that healed.”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, The Red Shoes (1993)

Smile, Beauty, Thinking

“Thank you, Mr. Chairman. I am in the position of a pilot without his checklist, so I’ll have to wing it a bit. … [Prior to the Apollo missions, ] no one knew what kind of person could be persuaded to take the trip. Prisoners were suggested. Soldiers could be ordered. Photographers could take pictures — and they’re expendable. Doctors understood the limits of human physiology. Finally, both sides picked pilots.”

Neil Armstrong (1930–2012) American astronaut; first person to walk on the moon

On being awarded a Congressional Gold Medal on (21 July 2009)

Personality

“Looking at the Temple and the Courts and the mountain road that winds below, we see this picture of human evolution, and the track along which the race is treading, and the Temple that is its goal… along that road round the mountain stands a vast mass of human beings, climbing indeed, but climbing so slowly, rising step after step; sometimes it seems as though for every step forward there is a step backward, and though the trend of the whole mass is upwards it mounts so slowly that the pace is scarcely perceptible. And this aeonian evolution of the race, climbing ever upwards, seems so slow and weary and painful that one wonders how the pilgrims have the heart to climb so long…”

Annie Besant (1847–1933) British socialist, theosophist, women's rights activist, writer and orator

p. 10

Pain, Mountain, Heart

“Knowledge is encoded in models. Models are synthetic sets of rules, and pictures, and algorithms providing us with useful representations of the world of our perceptions and of their patterns.”

Didier Sornette (1957) French scientist

Source: Why Stock Markets Crash - Critical Events in Complex Systems (2003), Chapter 5, Modeling Financial Bubbles And Market Crashes, p. 134.

World, Knowledge

“In the 1950's there was a kind of agreement that a good artist would do something in his picture that acknowledge the edge, but it was a question of doing something when you got to the edge. Cropping was something new. It came from photography and from w:Clement Greenberg. It was resisted as being too easy.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 23
Conversation with Karen Wilkin' (1986-1988)

Question

“We saw that radiation cannot suitably be pictured as particles when it is traveling through space. There is a corresponding property for electrons; these should not be pictured as waves so long as they are traveling through empty space.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

Travel

“The more I look around and listen I realize that I'm not alone. We are all facing choices that define us. No choice. However messy is without importance in the overall picture of our lives. We all at our own age have to claim something, even if it's only our own confusion. I am in the middle of growing up and into myself.”

Sabrina Ward Harrison (1975) Canadian writer

Spilling Open: The Art of Becoming Yourself, Introduction (2000)

Age

“Ray Black was in prison, so we weren't able to talk to him. I did some research on the internet and found out that he was in prison because he murdered two children after he raped them. There were also pictures of the dead children, and even though I knew it would only hurt me to look at them, I did. I printed them out and put them in *Stuff That Happened To Me*, right after the picture of Jean-Pierre Haigneré, the french astronaut who had to be carried from his spacecraft after returning form the MIR spacestation, because gravity isn't only what makes us fall, it's what makes our muscles strong.”

Jonathan Safran Foer book Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close (2005)

Children, Strong, Hurt, Dead

“He knew what she'd be reading first as she started from the beginning, reading what he'd had to say when he was younger, and then growing older, stories at first about tiny mice who lived in families in back of the wall, and stories about school, and apartments in Greenpoint and Carnasie and Flatbush, elves in Ireland that he'd pictured as Pop had told him about them, and the woman with lace on her sleeves.
She kept turning pages, and then halfway through, she whispered, "Water Street."
Thomas knew she was reading now about a boy who listened at a register, thinking about a family, and a lighthouse, and then she turned the next page and took a breath.
It was the story he really wanted her to see: a story about a girl who though less of herself than everyone else did, who worried about everyone, even when she didn't want to, even when it made her irritable. A girl who was afraid, and who hardly knew it yet, but was on her way to being a healer like her mother, because there'd never be anything else for her, and how lucky they were just to know her.”

Patricia Reilly Giff (1935) American children's writer

Source: Water Street (2006), Chapters 21-29, p. 135-136

School, Family, Way, Girl

“The blackbirds are in this book, they're both pro the kids and against the kids. Just like fate. Sometimes it goes your way. Sometimes… and also a blackbird is from my passion for Schubert songs and his blackbirds and his birds of doom or birds of good. … some people were baffled that in the last big picture of that book, there's a crucifix on the wall of the children's house. Everybody assumes the hero and heroine are Jewish and the mother is Jewish. They're not. They're not. — That was my point. Those kids were in the wrong place at the wrong time. And all children were in the Holocaust. Everybody was in the Holocaust. So, I made sure my hero and heroine were not Jewish children. That was too easy. That was too easy.”

Maurice Sendak (1928–2012) American illustrator and writer of children's books

NOW interview (2004)

Fate, Children, People, Books

“His pictures [of Nolde, which Jawlensky met in 1912] remind me of my own in the strength of their expression. I have a passionate love for Nolde and his art.”

Alexej von Jawlensky (1864–1941) Russian painter

quote of Jawlensky, 1912; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 118
1900 - 1935

Love, Art, Passion

“I like racing but food and pictures are more thrilling. I can't give them up. In racing you can be certain, to the last thousandth of a second, that someone is the best, but with a film or a recipe, there is no way of knowing how all the ingredients will work out in the end. The best can turn out to be awful and the worst can be fantastic. Cooking is like performing and performing like cooking.”

Paul Newman (1925–2008) American actor and film director

Quoted in "Saint Paul," interview with John Aldridge, The Guardian (2005-04-10)

Food, Way, Cooking

“Today, the picture is more black. War would riot only mean a threat to our independence, it may mean the end of civilisation and even of human life. There is a force loose in the world whose potentiality for evil no man truly knows. Even in practice and rehearsal for war the effects may well be building up into something of unknown horror.”

Sukarno (1901–1970) first President of the Republic of Indonesia

Speech at the Opening of the Bandung Conference

Life, War, World, Evil

“Religion can never reform mankind because religion is slavery. It is far better to be free, to leave the forts and barricades of fear, to stand erect and face the future with a smile. It is far better to give yourself sometimes to negligence, to drift with wave and tide, with the blind force of the world, to think and dream, to forget the chains and limitations of the breathing life, to forget purpose and object, to lounge in the picture gallery of the brain, to feel once more the clasps and kisses of the past, to bring life's morning back, to see again the forms and faces of the dead, to paint fair pictures for the coming years, to forget all Gods, their promises and threats, to feel within your veins life's joyous stream and hear the martial music, the rhythmic beating of your fearless heart. And then to rouse yourself to do all useful things, to reach with thought and deed the ideal in your brain, to give your fancies wing, that they, like chemist bees, may find art's nectar in the weeds of common things, to look with trained and steady eyes for facts, to find the subtle threads that join the distant with the now, to increase knowledge, to take burdens from the weak, to develop the brain, to defend the right, to make a palace for the soul. This is real religion. This is real worship.”

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

What Is Religion? (1899) is Ingersoll's last public address, delivered before the American Free Religious association, Boston, June 2, 1899. Source: The Works of Robert G. Ingersoll, Dresden Memorial Edition Volume IV, pages 477-508, edited by Cliff Walker. http://www.positiveatheism.org/hist/ingwhatrel.htm

Life, God, World, Fear

“Transformers: Revenge of the Fallen will make a ton of money, Michael Bay will be lauded as the greatest director of our generation, and the accountants at Paramount will have their second collective orgasm in as many months. As for me, I will try desperately not to weep — not so much for what the success of a movie like this means to motion pictures, but for the simple fact that I'm going to have to do this all over again in two or three years for Transformers 3.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1695 of Transformers: Revenge of the Fallen (2009). One-and-a-half star reviews

Money, Revenge, Success

“This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method... He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of Claude Lorrain, Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to his son Lucien, 8 Mai 1903, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 149
Quote of Pissarro - referring to the writer of the book Impressionist Painting, it Genesis and Development, published in 1904
after 1900

Truth, Nature, Thinking, Study

“Picture postcards never show the bugs,” I told her. “Stinging ants, wasps, fleas, roaches the size of your hand. Postcards never show the heat.”

Pat Murphy book The Falling Woman

Source: The Falling Woman (1986), Chapter 1 (p. 13)

“I was not able to work in the several excursions and ascensions made in the neighborhood, where it was very beautiful. One is so surprised by these grand aspects that it would be necessary to remain a long time before finding the interpretation capable of rendering them. I am going to finish the season at Auvers. There is nothing like one's natural every-day surroundings where one really takes pleasure. The pictures we do then feel the effect of their home-life, and the sweet sensations we experience in it.”

Charles-François Daubigny (1817–1878) French painter

Quote in Daubigny's letter to his friend Frédéric Henriet, 1872; as cited in 'Charles-francois Daubigny', by Robert J. Wichenden, in The Century Illustrated Montly Magazine, Vol. XLIV, July 1892, p. 337
1860s - 1870s

Life, Pleasure, Beauty, Feeling

“New space neither needs nor demands pictures - it is not a picture transposed on a surface. This explains the painters' hostility towards us [a. o.: Malevich ]: we are destroying the wall as the resting place for their pictures.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

critical quote of Lissitzky c. 1923, in Proun Space - in An Architecture for World Revolution, El Lissitzky; translation Eric Dluhosch; Lund Humphries, London: 1970, p. 138
1915 - 1925

Hostility

“The idea is to create a picture among the population that we're all one happy family. We're America, we have a national interest, we're working together. There are us nice workers, the firms in which we work and the government who works for us. We pick them — they're our servants. And that's all there is in the world — no other conflicts, no other categories of people, no further structure to the system beyond that. Certainly nothing like class. Unless you happen to be in the ruling class, in which case you're very well aware of it.”

Noam Chomsky book The Prosperous Few and the Restless Many

"The Unmentionable Five-Letter Word" in How the World Works, p. 121
Quotes 1990s, 1990-1994, The Prosperous Few and the Restless Many, 1993

People, World, Family, Idea

“And what is the point of putting a picture of the perfectly ordinary Irish smile on the box of cigarettes? what's that all about? what you supposed to achieve?”

Dylan Moran (1971) Irish actor and comedian

What It Is (2009)

Smile, Box

“There is no setup in Hollywood that compares with an Astaire picture.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Irving Berlin to George Gershwin quoted in Jablonski, Edward, and Stewart, Lawrence D. The Gershwin Years. Garden City, N.Y.: Doubleday, 1961, p. 250. (M).

“Chance as a theme and as method. A method of allowing something objective to come into being; a theme for creating a simile (picture) of our survival strategy:
(1) The living method, which not only processes conditions, qualities and events as they chance to happen, but exists solely as that non-static 'process', and in no other way.
(2) Ideological: denial of the planning, the opinion and the world-view whereby social projects, and subsequently 'big pictures', are created. So what I have often seen as a deficiency on my part – the fact that I've never been in a position to 'form a picture' of something – is not incapacity at all but an instinctive effort to get at a more modern truth: one that we are already living out in our lives”

Gerhard Richter (1932) German visual artist, born 1932

life is not what is said but the saying of it, not the picture but the picturing Quotes from Notes, 1989; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5 1980's

Life, Truth, World, Way

“Today I was on the Rue Laffette where the art dealers are. There is so much of interest to see here. You know the things that you call 'the artistic' in art. The French possess to a high degree this sense of not having to bring everything to a pitch of perfection. The mobility in their nature really comes to their aid there. We Germans always obediently paint our pictures from top till bottom, and are much to ponderous to do the little oil-sketches and improvisations which so often say more than a finished painting.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 14 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 292
1900 - 1905

Art, Nature, Sense, Painting

“The case which the French present to us with regard to the Left Bank of the Rhine is very forcible, but very one-sided. They draw a lurid picture of future Franco-German relations. They assume that the German population will always far outnumber the French; that as soon as the first shock of defeat has passed away, Germany will organise herself for revenge; that all our attempts to limit armaments will be unsuccessful; that the League of Nations will be impotent; and, consequently, that the invasion of France, which was fully accomplished in 1870, and partially accomplished in the recent War, will be renewed with every prospect of success.”

Arthur James Balfour (1848–1930) British Conservative politician and statesman

Memorandum, 'France's Fear of German Aggression' (28 March 1919) written for the Paris Peace Conference, quoted in Blanche E. C. Dugdale, Arthur James Balfour, First Earl of Balfour, K.G., O.M., F.R.S., Etc. 1906–1930 (London: Hutchinson & Co. Ltd, 1936), p. 204.

War, Revenge, Success, Future

“I want to reach the state of condensation of sensations which constitutes a picture. Perhaps I might be satisfied momentarily with a work finished at one sitting, but I would soon get bored looking at it; therefore, I prefer to continue working on it so that later I may recognize it as a work of my mind..”

Henri Matisse (1869–1954) French artist

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

“My figures at least are not a bunch of clothes with a head and hands sticking out but more nearly resemble the strong living bodies that most pictures show. And in the latter end of a life so spent in study, you at least can imagine that painting is with me a very serious study. That I have but little patience with the false modesty which is the greatest enemy to all figure painting. I see no impropriety in looking at the most beautiful of Nature's works, the naked figure. If there is impropriety, then just where does such impropriety begin? Is it wrong to look at a picture of a naked figure or at a statue? English ladies of the last generation thought so and avoided the statue galleries, but do so no longer. Or is it a question of sex? Should men make only the statues of men to be looked at by men, while the statues of women should be made by women to be looked at by women only? Should the he-painters draw the horses and bulls, and the she-painters like Rosa Bonheur the mares and cows? Must the poor old male body in the dissecting room be mutilated before Miss Prudery can dabble in his guts?Such indignities anger me. Can not anyone see into what contemptible inconsistencies such follies all lead? And how dangerous they are? My conscience is clear, and my suffering is past.”

Thomas Eakins (1844–1916) American painter

Letter of resignation to Edward Hornor Coates, Chairman of the Committee on Instruction, Pennsylvania Academy of the Fine Arts (1886-02-15).

Life, Women, Men, Beauty

“I will only make pictures that I won't be ashamed to have my children see.”

Louis B. Mayer (1884–1957) American film producer

Halliwell's Who's Who in the Movies (2001 ed)

Children

“Because psychologists have been able to discover, exactly as in a slow-motion picture, the way the human creature acquires knowledge and habits, the normal child has been vastly helped by what the retarded have taught us.”

Pearl S. Buck (1892–1973) American writer

The Child Who Never Grew (1950)

Way, Knowledge, Help

“When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.”

John Constable (1776–1837) English Romantic painter

As quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40
1800s - 1810s

Nature, Forgetting

“De Bellaigue is at pains to portray Mossadegh as — in the words of the jacket copy — “one of the first liberals of the Middle East, a man whose conception of liberty was as sophisticated as any in Europe or America.” But the trouble is, there is nothing in Mossadegh’s career — spanning half a century, as provincial governor, cabinet minister, and finally prime minister — to portray him as even remotely a lover of liberty. De Bellaigue quotes Mossadegh as saying that a trusted leader is “that person whose every word is accepted and followed by the people.” To which de Bellaigue adds: “His understanding of democracy would always be coloured by traditional ideas of Muslim leadership, whereby the community chooses a man of outstanding virtue and follows him wherever he takes them.” Word for word, that could have been the late Ayatollah Khomeini’s definition of a true leader. Mossadegh also made a habit of appearing in his street meetings with a copy of the Koran in hand. According to de Bellaigue, Mossadegh liked to say that “anyone forgetting Islam is base and dishonourable, and should be killed.” During his premiership, Mossadegh demonstrated his dictatorial tendency to the full: Not once did he hold a full meeting of the council of ministers, ignoring the constitutional rule of collective responsibility. He dissolved the senate, the second chamber of the Iranian parliament, and shut down the Majlis, the lower house. He suspended a general election before all the seats had been decided and chose to rule with absolute power. He disbanded the high council of national currency and dismissed the supreme court. During much of his tenure, Tehran lived under a curfew while hundreds of his opponents were imprisoned. Toward the end of his premiership, almost all of his friends and allies had broken with him. Some even wrote to the secretary general of the United Nations to intervene to end Mossadegh’s dictatorship. But was Mossadegh a man of the people, as de Bellaigue portrays him? Again, the author’s own account provides a different picture. A landowning prince and the great-great-grandson of a Qajar king, Mossadegh belonged to the so-called thousand families who owned Iran. He and all his children were able to undertake expensive studies in Switzerland and France. The children had French nannies and, when they fell sick, were sent to Paris or Geneva for treatment. (De Bellaigue even insinuates that Mossadegh might have had a French sweetheart, although that is improbable.) On the one occasion when Mossadegh was sent to internal exile, he took with him a whole retinue, including his cook… As a model of patriotism, too, Mossadegh is unconvincing. According to his own memoirs, at the end of his law studies in Switzerland, he had decided to stay there and acquire Swiss citizenship. He changed his mind when he was told that he would have to wait ten years for that privilege. At the same time, Farmanfarma secured a “good post” for him in Iran, tempting him back home.”

Amir Taheri (1942) Iranian journalist

"Myths of Mossadegh" https://www.nationalreview.com/nrd/articles/302213/myths-mossadegh/page/0/1, National Review (June 25, 2012).

Pain, Children, People, Family

“Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed.”

Nathaniel Hawthorne book The Marble Faun

Source: The Marble Faun (1860), Chapter XLI: Snowdrops and Maidenly Delights

Thinking, Reading

“I don't want to offend people right out of the gate. I know that some of you believe and I certainly don’t want to mock the myths that define some of you, but um. I choose not to believe in god. That's ok still, i can do that, right? It's my choice to go through life filled with dread, panic and fear... because I think that's a more objective and real way to live. Just be like…"Aaaaahh' what's gonna happen?!" I think that's needed, honestly. And again I don't want to make fun of what you believe in. I think the reason Jesus is so popular, just on a celebrity level, is that he died at the peak of his career, ok. He was…hear me out…. he was young, he was hot. He was well spoken from all accounts. I really think it would have been different had he lived longer, alright. Say had he gotten old enough to get bitter. Alright, just hear me out. Picture there's a third testament to the bible' alright. This point Jesus is in his 50's. He's got one apostle left. And the book opens with him knee deep in water saying, "I used to be able to do this!" The apostle's saying, "Come on…don't yell at the water, Jesus. Come on in. It's not your day, buddy. Come on. People are gathering for the wrong reason. Can we just go, please. Let's go to the deli…we'll have a sandwich. We'll try again tomorrow. Come on, yes you are god, come on. And again, you know, if you're a religious person, I understand why you believe. It makes you feel better, you know. But a lot of us do not have the patience or disposition to have faith or belief. Thank god there's medication for those people because if you're properly medicated, it will provide roughly the same effect as religion, you know. If you're on the right combination of anti-depressants, it will alleviate your ability to see the truth clearly and provide a false sense of hope.”

Marc Maron (1963) Comedian

http://www.cc.com/video-clips/zt2b7c/comedy-central-presents-faith-medication
Comedy Central Presents (2007)

Life, God, People, Truth

“Beyond the constructive elements of the picture, I studied the tonalities of nature by adding layer upon layer of diluted black watercolour paint. Each layer must dry well. In this way a mathematically correct scale of light and dark values is the result. Squinting facilitates our perception of this phenomenon in nature.”

Paul Klee (1879–1940) German Swiss painter

Quote (1908), # 840, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html 1903 - 1910

Way, Mathematics, Nature, Study

“Well, the truth is, we can only make our pictures speak. But yet, my dear brother, there is this that I have always told you, and I repeat it once more, with all earnestness.... that I shall always consider that you are something other than a simple [art-]dealer in Corot, that through my mediation you have a part in the actual production of some canvases, which even in the deluge will retain their place.
Well, my own work, I am risking my life for it and my reason has half-foundered in it - that is all right - but you are not among the dealers in men so far as I know, and you can still choose your side, I think, acting with humanity, but what's the use?”

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

In a letter from Auvers, Summer of 1890, to Theo (found on him on 29 July, after Vincent had shot himself); as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 652 ) p. 7 1890s

Life, Men, Truth, Art

“Do you see that corner of canvas there [of his painting 'La Ferme'], large as the hand, does it not seem to you that it far surpasses in intensity, in clearness, in expression, the rest of the canvas? [Sensier confirmed]. Well, then, all the rest must pass under the control of that little centre; all that which surrounds it submit itself to that diapason of light and the whole of the picture be as charged with life as that which you see there. Must we not incessantly lift ourselves, surpass ourselves, in this terrible profession of painter?”

Théodore Rousseau (1812–1867) French painter (1812-1867)

quote from a talk with Alfred Sensier, c. 1865; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, pp. 159-60
the quote is pointing to his painting 'The Farm / La Ferme', upon which Rousseau had worked for years
1851 - 1867

Life, Light, Painting

Quotes about picture page 18

Quotes about picture
page 18