Quotes about picture

page 20

Book III, line 365. Compare:
'Tis not enough no harshness gives offense;
The sound must seem an echo to the sense.
Alexander Pope, An Essay on Criticism, Part II, line 164
De Arte Poetica (1527)
Context: Tis not enough his verses to complete,
In measure, numbers, or determined feet;
Or render things, by clear expression bright,
And set each object in a proper light:
To all, proportioned terms he must dispense,
And make the sound a picture of the sense.

Beautiful Minds (2010)
Context: I have this sense that we need to picture cosmology, the evolution of the universe in a whole new way. I'm probably not one that can achieve this new thinking but somebody will and I feel at the moment we're kind of waiting for it to happen. A bit like a pregnant pause. A bit like what happens when there's a snowfall, first snowfall of the year, when everything goes quiet and kind of waits. I feel we are in that kind of phase.

Address at Columbia University (1991)
Context: "Our lives teach us who we are." I have learned the hard way that when you permit anyone else's description of reality to supplant your own — and such descriptions have been raining down on me, from security advisers, governments, journalists, Archbishops, friends, enemies, mullahs — then you might as well be dead. Obviously, a rigid, blinkered, absolutist world view is the easiest to keep hold of, whereas the fluid, uncertain, metamorphic picture I've always carried about is rather more vulnerable. Yet I must cling with all my might to … my own soul; must hold on to its mischievous, iconoclastic, out-of-step clown-instincts, no matter how great the storm. And if that plunges me into contradiction and paradox, so be it; I've lived in that messy ocean all my life. I've fished in it for my art. This turbulent sea was the sea outside my bedroom window in Bombay. It is the sea by which I was born, and which I carry within me wherever I go.
"Free speech is a non-starter," says one of my Islamic extremist opponents. No, sir, it is not. Free speech is the whole thing, the whole ball game. Free speech is life itself.

Source: I. Asimov: A Memoir (1994), p. 308
Context: He always pictured himself a libertarian, which to my way of thinking means "I want the liberty to grow rich and you can have the liberty to starve". It's easy to believe that no one should depend on society for help when you yourself happen not to need such help.

As quoted in: Bruce Jackson (1987) Fieldwork, p. 87

The Advocate interview (2005)
Context: The larger picture is really to swing people's awareness of what really is moral.... There are great clergy-people who absolutely do not agree with this. It's not whether God is on our side or whether we're doing God's will, it's being so narcissistic as to think that God is telling you what to do.

Address to the Society for Psychical Research (1897)
Context: A view of the constitution of matter which recommended itself to Faraday as preferable to the one ordinarily held appears to me to be exactly the view I endeavor to picture as the constitution of spiritual beings. Centers of intellect, will, energy, and power, each mutually penetrable, while at the same time permeating what we call space, but each center retaining its own individuality, persistence of self, and memory. Whether these intelligent centers of the various spiritual forces which in their aggregate go to make up man's character or karma are also associated in any way with the forms of energy which, centered, form the material atom — whether these spiritual entities are material, not in the crude, gross sense of Lucretius, but material as sublimated through the piercing intellect of Faraday — is one of those mysteries which to us mortals will perhaps ever remain an unsolved problem. My next speculation is more difficult, and is addressed to those who not only take too terrestrial a view, but who deny the plausibility — nay, the possibility — of the existence of an unseen world at all. I reply we are demonstrably standing on the brink, at any rate, of one unseen world. I do not here speak of a spiritual or immaterial world. I speak of the world of the infinitely little, which must be still called a material world, although matter as therein existing or perceptible is something which our limited faculties do not enable us to conceive. It is the world — I do not say of molecular forces as opposed to molar, but of forces whose action lies mainly outside the limit of human perception, as opposed to forces evident to the gross perception of human organisms. I hardly know how to make clear to myself or to you the difference in the apparent laws of the universe which would follow upon a mere difference of bulk in the observer. Such an observer I must needs imagine as best I can.

The Paris Review interview (2010)
Context: Our education system has gone to hell. It’s my idea from now on to stop spending money educating children who are sixteen years old. We should put all that money down into kindergarten. Young children have to be taught how to read and write. If children went into the first grade knowing how to read and write, we’d be set for the future, wouldn’t we? We must not let them go into the fourth and fifth grades not knowing how to read. So we must put out books with educational pictures, or use comics to teach children how to read. When I was five years old, my aunt gave me a copy of a book of wonderful fairy tales called Once Upon a Time, and the first fairy tale in the book is “Beauty and the Beast.” That one story taught me how to read and write because I looked at the picture of that beautiful beast, but I so desperately wanted to read about him too.

Introduction to Kṛṣṇa, the Supreme Personality of Godhead (1970) by A. C. Bhaktivedanta Swami Prabhupada; this paraphrases some statements from An Autobiography of a Yogi (1948) by Paramahansa Yogananda
Context: From the Hindu perspective, each soul is divine. All religions are branches of one big tree. It doesn't matter what you call Him just as long as you call. Just as cinematic images appear to be real but are only combinations of light and shade, so is the universal variety a delusion. The planetary spheres, with their countless forms of life, are naught but figures in a cosmic motion picture. One's values are profoundly changed when he is finally convinced that creation is only a vast motion picture and that not in, but beyond, lies his own ultimate reality.

Introduction
Cosmic Imagery: Key Images in the History of Science (2008)

Black Boy (1945)

PENN Address (2004)
Context: The scale of the suffering and the scope of the commitment they often numb us into a kind of indifference. Wishing for the end to AIDS and extreme poverty in Africa is like wishing that gravity didn't make things so damn heavy. We can wish it, but what the hell can we do about it?
Well, more than we think. We can't fix every problem — corruption, natural calamities are part of the picture here — but the ones we can we must. The debt burden, as I say, unfair trade, as I say, sharing our knowledge, the intellectual copyright for lifesaving drugs in a crisis, we can do that. And because we can, we must. Because we can, we must. Amen.

Are You an Illusion (2014). 29.
Context: A particularly strong assumption here has been scientists’ deep reliance on atomization; on finding the meaning of things by breaking them down to their smallest components. Atomizations illustrates the simplest, most literal meaning of the word “reduction”; it works by making things smaller. The illumination that follows does not, of course, flow simply from their being smaller but from the wider scientific picture into which they can now be fitted. That picture gives them a new kind of context, a wider whole within which they can be differently understood. And finding that kind of context is an essential part of what “understanding” means.

The Evolution of Physics (1938) (co-written with Leopold Infeld) <!-- later published by Simon & Schuster (1967) -->
1930s
Context: Physical concepts are free creations of the human mind, and are not, however it may seem, uniquely determined by the external world. In our endeavor to understand reality we are somewhat like a man trying to understand the mechanism of a closed watch. He sees the face and the moving hands, even hears its ticking, but he has no way of opening the case. If he is ingenious he may form some picture of a mechanism which could be responsible for all the things he observes, but he may never be quite sure his picture is the only one which could explain his observations. He will never be able to compare his picture with the real mechanism and he cannot even imagine the possibility or the meaning of such a comparison. But he certainly believes that, as his knowledge increases, his picture of reality will become simpler and simpler and will explain a wider and wider range of his sensuous impressions. He may also believe in the existence of the ideal limit of knowledge and that it is approached by the human mind. He may call this ideal limit the objective truth.

"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: The Art of painting is itself an intensely personal activity… a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object... And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.

Somebody once said that I paint the kind of girls your mother would want you to marry.
Norman Rockwell, My Adventures As An Illustrator : An Autobiography (1979), p 24

A Pluralistic Universe (1909) http://www.gutenberg.org/files/11984/11984-8.txt, Lecture I
1900s
Context: Reduced to their most pregnant difference, empiricism means the habit of explaining wholes by parts, and rationalism means the habit of explaining parts by wholes. Rationalism thus preserves affinities with monism, since wholeness goes with union, while empiricism inclines to pluralistic views. No philosophy can ever be anything but a summary sketch, a picture of the world in abridgment, a foreshortened bird's-eye view of the perspective of events. And the first thing to notice is this, that the only material we have at our disposal for making a picture of the whole world is supplied by the various portions of that world of which we have already had experience. We can invent no new forms of conception, applicable to the whole exclusively, and not suggested originally by the parts. All philosophers, accordingly, have conceived of the whole world after the analogy of some particular feature of it which has particularly captivated their attention. Thus, the theists take their cue from manufacture, the pantheists from growth. For one man, the world is like a thought or a grammatical sentence in which a thought is expressed. For such a philosopher, the whole must logically be prior to the parts; for letters would never have been invented without syllables to spell, or syllables without words to utter.
Another man, struck by the disconnectedness and mutual accidentality of so many of the world's details, takes the universe as a whole to have been such a disconnectedness originally, and supposes order to have been superinduced upon it in the second instance, possibly by attrition and the gradual wearing away by internal friction of portions that originally interfered.
Another will conceive the order as only a statistical appearance, and the universe will be for him like a vast grab-bag with black and white balls in it, of which we guess the quantities only probably, by the frequency with which we experience their egress.
For another, again, there is no really inherent order, but it is we who project order into the world by selecting objects and tracing relations so as to gratify our intellectual interests. We carve out order by leaving the disorderly parts out; and the world is conceived thus after the analogy of a forest or a block of marble from which parks or statues may be produced by eliminating irrelevant trees or chips of stone.
Some thinkers follow suggestions from human life, and treat the universe as if it were essentially a place in which ideals are realized. Others are more struck by its lower features, and for them, brute necessities express its character better.
All follow one analogy or another; and all the analogies are with some one or other of the universe's subdivisions. Every one is nevertheless prone to claim that his conclusions are the only logical ones, that they are necessities of universal reason, they being all the while, at bottom, accidents more or less of personal vision which had far better be avowed as such; for one man's vision may be much more valuable than another's, and our visions are usually not only our most interesting but our most respectable contributions to the world in which we play our part. What was reason given to men for, said some eighteenth century writer, except to enable them to find reasons for what they want to think and do?—and I think the history of philosophy largely bears him out, "The aim of knowledge," says Hegel, "is to divest the objective world of its strangeness, and to make us more at home in it." Different men find their minds more at home in very different fragments of the world.

The Girl with the Swansdown Seat/Abode of Love/1848 (1956).
Context: The Victorians have been immoderately praised, and immoderately blamed, and surely it is time we formed some reasonable picture of them? There was their courageous, intellectually adventurous side, their greedy and inhuman side, their superbly poetic side, their morally pretentious side, their tea and buttered toast side, and their champagne and Skittles side. Much like ourselves, in fact, though rather dirtier.

Part 4: "The Abacus and the Rose" (p. 98)
Science and Human Values (1956, 1965)
Context: Nature is more subtle, more deeply intertwined and more strangely integrated than any of our pictures of her — than any of our errors. It is not merely that our pictures are not full enough; each of our pictures in the end turns out to be so basically mistaken that the marvel is that it worked at all.

X magazine (1959-62)
Context: For even the painter himself cannot be fully aware of the way in which the picture gets made: there is a wide area of the unpredictable in the act of pushing paint about in the definition of an image.

The Ball and the Cross, part IV: "A Discussion at Dawn", 2nd paragraph
Context: It is the one great weakness of journalism as a picture of our modern existence, that it must be a picture made up entirely of exceptions. We announce on flaring posters that a man has fallen off a scaffolding. We do not announce on flaring posters that a man has not fallen off a scaffolding. Yet this latter fact is fundamentally more exciting, as indicating that that moving tower of terror and mystery, a man, is still abroad upon the earth. That the man has not fallen off a scaffolding is really more sensational; and it is also some thousand times more common. But journalism cannot reasonably be expected thus to insist upon the permanent miracles. Busy editors cannot be expected to put on their posters, "Mr. Wilkinson Still Safe," or "Mr. Jones, of Worthing, Not Dead Yet." They cannot announce the happiness of mankind at all. They cannot describe all the forks that are not stolen, or all the marriages that are not judiciously dissolved. Hence the complex picture they give of life is of necessity fallacious; they can only represent what is unusual. However democratic they may be, they are only concerned with the minority.

Ch. 11 : LSD Experience and Reality http://www.psychedelic-library.org/child11.htm
LSD : My Problem Child (1980)
Context: Of greatest significance to me has been the insight that I attained as a fundamental understanding from all of my LSD experiments: what one commonly takes as "the reality," including the reality of one's own individual person, by no means signifies something fixed, but rather something that is ambiguous — that there is not only one, but that there are many realities, each comprising also a different consciousness of the ego.
One can also arrive at this insight through scientific reflections. The problem of reality is and has been from time immemorial a central concern of philosophy. It is, however, a fundamental distinction, whether one approaches the problem of reality rationally, with the logical methods of philosophy, or if one obtrudes upon this problem emotionally, through an existential experience. The first planned LSD experiment was therefore so deeply moving and alarming, because everyday reality and the ego experiencing it, which I had until then considered to be the only reality, dissolved, and an unfamiliar ego experienced another, unfamiliar reality. The problem concerning the innermost self also appeared, which, itself unmoved, was able to record these external and internal transformations.
Reality is inconceivable without an experiencing subject, without an ego. It is the product of the exterior world, of the sender and of a receiver, an ego in whose deepest self the emanations of the exterior world, registered by the antennae of the sense organs, become conscious. If one of the two is lacking, no reality happens, no radio music plays, the picture screen remains blank.

Bowdoin Academic Spotlight interview (2011)
Context: You have to take advantage of the opportunities that life gives you, particularly the moments in time when you have time, when you're between jobs or you retire. Get out and go. I think most of us are way too intense. We need to take a deep breath and do things that maybe don't fit the normal picture of what we're supposed to do at that stage of life. In some ways, this book is one big argument for just plain loosening up.

Amusing Ourselves to Death: Public Discourse in the Age of Show Business (1985)
Context: The world in which we live is very nearly incomprehensible to most of us. There is almost no fact... that will surprise us for very long, since we have no comprehensive and consistent picture of the world which would make the fact appear as an unacceptable contradiction.... in a world without spiritual or intellectual order, nothing is unbelievable; nothing is predictable, and therefore, nothing comes as a particular surprise.... The medieval world was... not without a sense of order. Ordinary men and women... had no doubt that there was such a design, and their priests were well able, by deduction from a handful of principles, to make it, if not rational, at least coherent.... The situation we are presently in is much different.... sadder and more confusing and certainly more mysterious.... There is no consistent, integrated conception of the world which serves as the foundation on which our edifice of belief rests. And therefore... we are more naive than those of the Middle Ages, and more frightened, for we can be made to believe almost anything.

Cosmic Imagery: Key Images in the History of Science (2008)
Context: The abstractions of Einstein's curved space and time gave rise to analogies and pictures that played a new explanatory role. Space and time gave way to space-time, visible light was augmented by images across the rest of the electromagnetic spectrum, and we realised that we could see back towards the apparent beginnings of time.<!--part. 1, p. 8

"The Whole of the Moon" · Video at YouTube https://www.youtube.com/watch?v=8TON3PORRDQ <!-- Lower res link Video at Youtube http://www.youtube.com/watch?v=AsNTmjlf1vI -->
This Is the Sea (1985)
Context: I pictured a rainbow
you held it in your hands
I had flashes
but you saw the plan
I wandered out in the world for years
you just stayed in your room
I saw the crescent
You saw the whole of the moon.

Excerpted Comments Made by Reza Pahlavi of Iran to a Group of Prominent American Business Leaders in New York City http://www.rezapahlavi.org/details_article.php?article=414&page=2, Dec. 9, 2009.
Speeches, 2008-2009

Section 1.3, "Shop Organization"
Workers Councils (1947)

(June, 1888) in Letters to Émile Bernard (1938) New York. See also John Rewald, History of Impressionism (1946) p. 402.
1880s, 1888

Tavleen Singh, It’s time opposition tried to address what actually happened this general election June 16, 2019 https://indianexpress.com/article/opinion/columns/congress-rahul-priyanka-sonia-gandhi-narendra-modi-lok-sabha-elections-a-failed-opposition-5782544/

Inside the Spaceships

On A Kestrel for a Knave
Barry Hines Interview: Homecoming Hero

“Stalin-Wells Talk: The Verbatim Report and A Discussion”, G.B. Shaw, J.M. Keynes et al., London, The New Statesman and Nation, (1934) p. 34

On an article by Quanta magazine(when asked: Is there one big question that has always guided you?) https://www.quantamagazine.org/michael-atiyahs-mathematical-dreams-20160303

Source: The Esoteric Tradition (1935), Chapter 6

Selected works, Spinoza and Buddha: Visions of a Dead God (1933)

Selected works, Spinoza and Buddha: Visions of a Dead God (1933)

Mattachine Society Missions and Purposes"

Brotherhood Postponed (1965)

Bias, Blindness and How We Truly Think (Part 4): Daniel Kahneman, bloomberg.com, 24 October 2011, 15 May 2014 http://www.bloomberg.com/news/2011-10-27/bias-blindness-and-how-we-truly-think-part-4-daniel-kahneman.html,
"Bias, Blindness and How We Truly Think" (2011)

[Emergent spacetime, arXiv preprint hep-th/0601234, 2006, 6, https://arxiv.org/abs/hep-th/0601234]

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?
"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

Said during an official photo shoot of the 75th anniversary of the Battle of Britain https://www.theguardian.com/uk-news/2015/jul/10/prince-philip-tells-photographer-just-take-the-fucking-picture in 2015.
2000s

Source: The Civilizing Process (1939), p. 477

Ken MacLeod in Introduction: Charlie’s Demons (p. xvi)
The Laundry Files, The Atrocity Archives (2004)

A Tenderfoot in Space (p. 689)
Short fiction, Off the Main Sequence (2005)

Speeech at the funeral of Freddie Gray (April 27, 2015)
Source: [Cobb, Jelani, October 18, 2019, What Elijah Cummings Meant to Baltimore, https://www.newyorker.com/news/daily-comment/what-elijah-cummings-meant-to-baltimore, New Yorker, New York, October 20, 2019]

The Rigveda: A Historical Analysis (2000), Chapter 8 : Misinterpretations of Rigvedic History

"classical Greek" here refers to Greek in the classical period spanning approximately the time between 5th and 4th centuries BC, i.e., in contrast to Homeric Greek from Archaic Greece.
Source: The Discovery of the Mind: The Greek Origins of European Thought (1953), p. 1

Madness in the Family (1988)

The Guardian
Banging Your Head Against a Brick Wall (2001)

Wall and Piece (2007)

[Pictures Called Products Of Art., The Record, https://commons.wikimedia.org/wiki/File:Harvey_Dwight_Dash_(1924-2002)_in_The_Record_of_Hackensack,_New_Jersey_on_5_November_1959.png, November 5, 1959, Harvey Dwight Dash]
Quote

Jane Sinnett, trans 1846 p. 60
The Vocation of Man (1800), Knowledge

quoted by Josh Feldmen of Mediaite https://www.mediaite.com/tv/this-is-a-big-fcking-day-l-a-mayor-proudly-drops-f-bomb/ (June 16, 2014)
2014, Los Angeles Kings Stanley Cup celebration

“If you can say it so calmly, then you haven’t.”
Source: Bitter Angels (2009), Chapter 11 (p. 155)

He realized that he could get out of there. He could simply get up and leave. He didn't have to even speak to anybody. Hadn't they said this was voluntary? He was a volunteer. Well, he didn't feel like being a volunteer anymore. He wanted to go home.
Source: The Rag and Bone Shop (2000), p. 99-100

Source: Literary Vision, p. 152

Coming Out Speech (2014)

Maic Casey in [Mitter, Partha, The Triumph of Modernism: India's Artists and the Avant-garde, 1922-1947, http://books.google.com/books?id=krdWkzVLSbkC&pg=PA236, 2007, Reaktion Books, 978-1-86189-318-5, 45]

X magazine (1959-62)

X magazine (1959-62)

Writing a review isn't enough — we have to get out there and actively stump for the movie. The underlying reason is sound: if Minority Report makes a lot of money, the studios will be encouraged to fashion more films of this sort. And that is a good thing — not just for science fiction lovers but for fans of intelligent, thought-provoking pictures of all genres.
Review http://www.reelviews.net/movies/m/minority_report.html of Minority Report (2002).
Four star reviews

"I would have you to know Mr. Doctor" replied Salvator, " that I can more easily instruct you in the cure of your tickt than you can me in the art I profess, being a much better Painter than you are a Physician.'

Jon Hopwood
About, Spartacus Schoolnet biography

Peter Gorsen, about the depiction of wounded children in Helnwein's work, Albertina Museum catalogue, Gottfried Helnwein solo-exhibition, 1985, www.gottfried-helnwein-child.com http:////www.gottfried-helnwein-child.com/index.html

Book II, Chapter 2, p. 182
The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976)

Give Me Liberty (1936)

Barnett Newman, Mark Rothko and Adolph Gottlieb in thier common 'Manifesto', New York Times, 13 June 13, 1943; republished in: Stella Paul (1999), Twentieth-Century Art at the Metropolitan Museum of Art. p. 159
1940 - 1950

Idle Thoughts of an Idle Fellow (1886)

On modern technology
What It Is (2009)

five minutes of human-interest stories and small talk, five minutes of weather, five minutes of sports, ten minutes of commercials, and maybe a minute or two for business, science, politics, and affairs of the world.
July 3, 1998 Denver Post column

The Believer interview (2013)

John Lane, long-time companion of the Villeneuves - Donaldson, pg. 319

Stranger Than Fiction: True Stories (2004)

Now for more than five years already, I do not know exactly how long, I'm more or less without employment, wandering here and there.. .But you will ask what is your definite aim? That aim becomes more definite, will stand out slowly and surely, as the rough draft becomes a sketch and the sketch becomes a picture.. .. my only anxiety is: how can I be of use in the world, cannot I serve some purpose and be of any good, how can I learn more and study profoundly certain subjects?

In his letter to brother Theo, from Cuesmes, Belgium July 1880; 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 133) p. 19
1880s, 1880

Source: The Way of All Flesh (1903), Ch. 14

Stardom Doesn’t Change Where You’re From (April 02, 2014)

And I look at that and I think, if that is what a woman is supposed to look like, then I must not be one.
From Her Tours and CDs, The Notorious C.H.O. Tour

On writing stories that are considered unseen in "James McBride's Advice For New Writers: 'A Simple Story Is The Best Story'" https://www.npr.org/2020/02/29/810052791/james-mcbrides-advice-for-new-writers-a-simple-story-is-the-best-story in NPR (2020 Feb 29)

They're going to put y'all back in chains.
Campaign speech in Danville, Virginia, criticizing Mitt Romney, Paul Ryan, and the Republican speech, quoted in * 2012-08-14
VP Biden Says Republicans Are 'Going to Put Y'all Back in Chains'
Jake Tapper
ABC News
http://abcnews.go.com/blogs/politics/2012/08/vp-biden-says-republicans-are-going-to-put-yall-back-in-chains/
2012

Interview with Bill Neely https://www.youtube.com/watch?v=45odEv_1DAY (July 2016) on " NBC: Exclusive Interview with Bashar al-Assad https://www.nbcnews.com/news/world/syria-s-president-bashar-al-assad-speaks-nbc-news-n608746"

(Comment of thanks to the media for respecting his privacy during his enrollment at Eton College) AP via CBS News https://web.archive.org/web/20150906180820/https://www.cbsnews.com/news/prince-faces-press/
Associated Press interview during his gap year (29 September 2000)

Stanza 3
Lyrical Ballads (1798–1800), Lines written a few miles above Tintern Abbey (1798)

The Amazing Mr. Lutterworth (1958)

Source: Feet of Clay; Saints, Sinners, and Madmen: A Study of Gurus (1996, 1997), Chapter 7 "The Jesuit and Jesus" (p. 147)

Think Like an Artist (2015)

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Jan Mankes, in het Nederlands:) Schilderen is.. ..nooit een afbeelding geven der stoffelijke zaken, maar een psychische functie, een uiten hoe zijn geest [van de kunstenaar] reageert ten opzichte der dingen. Dat is dus een heel verschil met: schilderen is de schoonheid der dingen laten zien.

Quote of Jan Mankes in a letter to his maceneas A.A.M. Pauwels in The Hague; as cited by J.R. de Groot in 'De bekoring van het gewone - Het werk van Jan Mankes https://www.dbnl.org/tekst/_ons003199001_01/_ons003199001_01_0014.php', p. 102
undated quotes

It was an odd looking thing. I couldn't say 'Oh, it looks like you' because that would be a diss.

Podcast Series 2 Episode 2
On Medicine

N.S. Rajaram: From Harappa to Ayodhya, Sahitya Sindhu Prakashana, Bangalore 1997, p.6;

Late for the Sky from Late for the Sky (1974)

Song lyrics, Purple Rain (1984)

Song lyrics, 1999 (1982)

The Letters Of William Blake https://archive.org/details/lettersofwilliam002199mbp (1956), p. 50
1790s

The making of a movie is wonderful. What's difficult is afterward when you have to go around and try to sell it. The actual filming, when you have a good script—which isn't often—nothing beats it.
Source: "As quoted in Rustic Oregon life is a real picnic for Kim Novak" by Bob Thomas, Associated Press, Seattle Post-Intelligencer, 14 May 2004 https://www.seattlepi.com/ae/movies/article/Rustic-Oregon-life-is-a-real-picnic-for-Kim-Novak-1144800.php

Interview with Don Bluth https://www.ign.com/articles/2000/06/13/interview-with-don-bluth-part-1-of-3 (June 13, 2000)