Quotes about picture
page 8

“Enactment is first and foremost about action in the world, and not about conceptual pictures of the world.”

Karl E. Weick (1936) Organisational psychologist

Source: 1980s-1990s, Sensemaking in Organizations, 1995, p. 36; as cited in: Haridimos Tsoukas, ‎Jill Shepherd (2009), Managing the Future: Foresight in the Knowledge Economy, p. 99

World

“.. the idea that an artist is nothing unless he accepts the total responsibility for everything that he does.... by making a responsible move that he makes a statement... You can make a picture out of truth.”

Clyfford Still (1904–1980) American artist

1960s
Source: 'A period of Exploration', McChesney, as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p 35

Truth, Idea

“If it came on the evening news tonight that there were five grizzly bears roaming around Cobb County, do you know what would happen by six o'clock in the morning? They would all be dead. Because every redneck in four states would be out there with a rifle, trying to shoot one, right? And whoever could shoot the biggest one would be a hero. They would have his picture on the front page, "Bubba shot the Grizzly Bear" and saved the village. That is exactly what happened to the dragons. If you could figure out a way to kill a dragon, they would be telling stories about you around the campfire. People killed dragons for meat, because they were a menace, to prove that you were a hero, or to prove that you are superior, in competition for land, or for medicinal purposes. Many ancient recipes call for dragon blood, dragon bones, dragon saliva, why? Gilgamesh is famous for slaying a dragon. A Chinese legend tells about a guy named Yu that surveyed the land of China. It says, that after the Flood he surveyed the land, he divided it off into sections. He built channels to drain water off to sea and make the land livable again. Many snakes and dragons were driven from the marshlands. You know that's normal that if you want to build a city. You have to drive off the dragons, then build your city. It was expected that you have got to drive the dragons away or kill them. Why would the Chinese calendar have eleven real animals: the pig, the duck, the dog, and … the dragon? Why would they put just one "mythical" animal in there? Could it be at the time they that they came up with these animals there were 12 real animals? There is one of the oldest pieces of pottery on Planet Earth. It's a piece of slate from Egypt; the first dynasty of United Egypt. It shows long necked dragons […] Why would they put long necked dinosaurs on pottery 3,800 years ago? Here are two long necked dinosaurs with a sheep in between them in their mouths. Here is a hippo tusk from the twelve century B. C., showing an animal with a long neck, and a long tail. Here's a cylinder seal, showing what appears quite obviously to be a long neck dinosaur. The Bible talks about a fiery flying serpent, in Isaiah 14.”

Kent Hovind (1953) American young Earth creationist

Creation seminars (2003-2005), Dinosaurs and the Bible

People, Dogs, Way, Guy

“To amuse is not to teach. The object of teaching is to erect a framework of knowledge in a child's mind and gradually to bring the child as near as may be to the average level of intelligence. Later in life the facts taught by experience and new discoveries will add themselves to this framework. It is wrong to attempt to upset this natural order and to appeal to a child's mind by diverting it with the spectacle of modern life. Teaching by means of pictures, radio, and the cinema is in itself ineffective; these methods must not be used unless they involve (and this is possible) some effort or special enthusiasm. That which is learned without difficulty is soon forgotten, and for the same reason, oral instruction which does not require the pupil's personal participation is almost always rather useless. Eloquence slides in and out of young minds. To listen is not to work.”

André Maurois (1885–1967) French writer

Naturally this does not apply to the teaching of modern languages.
Un Art de Vivre (The Art of Living) (1939), The Art of Working

Life, Intelligence, Nature, Knowledge

“You must picture me alone in that room in Magdalen, night after night, feeling, whenever my mind lifted even for a second from my work, the steady, unrelenting approach of Him whom I so earnestly desired not to meet. That which I greatly feared had at last come upon me. In the Trinity Term of 1929 I gave in, and admitted that God was God, and knelt and prayed: perhaps, that night, the most dejected and reluctant convert in all England.”

Clive Staples Lewis book Surprised by Joy

Surprised by Joy (1955)

God, Fear, Feeling, Night

“They say they can't believe it, it's a sacrilegious shame
Now, who would want to hurt such a hero of the game?
But you know I predicted it; I knew he had to fall
How did it happen? I hope his suffering was small.
Tell me every detail, I've got to know it all,
And do you have a picture of the pain?”

Phil Ochs (1940–1976) American protest singer and songwriter

"Crucifixion"
Pleasures of the Harbor (1967)

Pain, Hope, Game, Suffering

“The Stone]'s an absolutely magical work…. It's about everything, so much detail, and yet the bigger picture is so inspiring. It's about that extraordinary cross connection between human feelings and the ability to see through human feelings – kan po hong chen（看破紅塵). But even though you kan po hong chen, you still have strong feelings. That's what so special about The Stone. It captures that. For me that's what I read about. Every time you read, you find more depth, more detail…. The author communicates – for lack of a better word, what I would just call – love. It's a love for humanity.”

John Minford (1946) New Zealand sinologist

Master-Insight.com Interview (2016)

Love, Feeling, Communication, Strong

“Fidel made it clear in his opening remarks that the parents were important but not nearly as important as the baby. In some pictures Fidel had a big patch of wet saliva on his uniform because he had come over early to cuddle the baby.

A very warm and charming man — I enjoyed him.

I am very proud that Canada helped facilitate this; we have long, trusted ties.... This is good news and I celebrate with the Cuban people.

It was very kind of him, he was very proud of what he was doing with their children in establishing them as strong citizens.

What a fabulous place. The people are filled with life and music and happy in spite of very difficult times. Some of them work four jobs to support their families. They are wonderful people and I think this is an opportunity for them to really evolve as they need to.”

Margaret Trudeau (1948) ex-wife of the late Canadian prime minister Pierre Trudeau

per 19 December 2014 article in National Post http://nationalpost.com/news/canada/margaret-trudeau-fondly-remembers-1976-trip-to-cuba-and-the-charming-dictator-who-cuddled-her-baby

Life, Children, People, Family

“a question i have for whoever runs these sites--where do you get all these pictures from? i can't even tell where i was when i took most of these!”

Emma Caulfield (1973) actress

[sic], Emma's first post to her fan forum http://emmaforums.dark-delusion.net/index.php?showtopic=733

Question

“Artists are mechanics who work with their hands, making things. Artists are involved with the means of creativity, the nature of skills, the revelation of making. Art comes from the work, I see a painting as an expressive entity. There's no picture that I know of where the subject carries as much expressive possibility as the actual execution of the picture.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)

Art, Nature, Painting

“There is not a canvas of that time that does not foreshadow the overthrow of the foundations on which the human race thought itself firmly established, where it felt itself secure. At the moment when the Ballets Russes were at their height, when the Neo-Impressionists and Fauves had dispensed with the drawing style of the Renaissance because it could not contain the purity of the colour - these humbly painted, angular, grey, ascetic pictures were, really, an unwelcome sight. It was not any upheaval of a geological nature that they prefigured, but a cataclysm in the human order. No tremor of the earth was registered, but a tremor of the spirit that disturbed the intellect of civilised man, too long the slave of his immobilised senses. At last he was beginning to suspect that something dangerous was approaching.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

Nature, Sense, Time, Drawing

“The large gray spiked form rising from the bottom of the picture is to me the symbol of death and ruin. And finally the black ovoid form is the symbol of fire, lava and destruction.”

William Baziotes (1912–1963) American painter

in a letter to Alfred H. Barr, Jr. 6 November, 1955; as quoted in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 34
Baziotes' quote is referring to his painting 'Pompeii', Baziotes painted in 1955
1950s

Death

“Do not be anxious about [an ordered painting] 'La Ferme' my dear Mr. Hartmann, I am anxious to establish in this picture such a decision deformed, that it may exist, independently of the caprices of the light, and of the influence of the hours of the day. I am regulating it, absolutely as a watchmaker regulates a watch after he has finished it.”

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

In a letter to Mr. Hartmann, c. 1865; as quoted in The Painters of Barbizon I – Millet, Rousseau and Diaz, by John W. Mollett, B.A.; publ. Sampton Low, Marston, Searle & Rivington, Limited, London, 1890, p. 81 Mr. Hartmann, who had bought this and two other pictures had waited for them fifteen years, at last became impatient, and wrote Rousseau: 'I shall only enjoy my pictures in my extreme old age, when I shall have become too blind to see them'. his biographer/friend Alfred Sensier wrote: this seemed to Mr. Hartmann 'as the reasoning of a troubled mind.' https://archive.org/details/souvenirssurthr00sensgoog?q=Theodore+Rousseau 1851 - 1867

Decision, Light, Painting

“Hoda Abdel Hamid (Interviewer for Al Jazeera): As much as you received praise during your 1st year, you also received some criticism, now I spoke to some Sri Lankans for the past few days, one issue that came up was the issue of nepotism. Many said that during your election campaign, you were very vocal about it. You condemned the practices of the former president, yet during that 1st year, you appointed members of your own family, your son in law is a public relations officer of the defense ministry, your brother is head of the government owned telecom company. And then there is the issue of your son, who came with you to the General Essambly in New York last September. It was your first time you were there as a president, and Sri Lanka is still means well, when we saw that picture, we were wondering 'is there really a difference? Or actually, will politics always be a family business in this country?”

Maithripala Sirisena (1951) Sri Lankan politician, 7th President of Sri Lanka

Talk to Al Jazeera - Sri Lankan president: No allegations of war crimes https://www.youtube.com/watch?v=udGmG-eqJ6o

Family, Law, Business, Time

“In my pictures I would use speech as an extra dimension supplementing the image … Speech would not come off the screen in coincidence with the sequences, but from without, as if it were a surplus unconnected with the organism - a cravat of drivel hung on an ivory tooth.”

Isidore Isou (1925–2007) Romanian-born French poet, film critic and visual artist

Venom and Eternity (1951), Danielle's Monologue

“I really learned how to look at art.... before 1960. And in a sense that sharpened my eye for abstract pictures. Because, it's light in the painting that makes it work. It's light in the painting that makes it work.”

Helen Frankenthaler (1928–2011) American artist

quote about the role of light
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Art, Sense, Light, Learning

“Nor, on the other hand, are there any masculine charms [in Gabriele Münter's work] either: no 'sinewy brushwork', no heaps of paint, 'hurled on to the canvas'. The pictures are painted throughout with a delicately and correctly sensed measure of external strength, with not a trace of feminine or masculine coquetry in the 'making'. We could almost say that they are painted modestly; i. e. that they were inspired, not by a desire for outward display, but by a purely inward compulsion.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, 1913; in the introduction of an exhibition-catalog 'Neue Künstlervereinigung', Munich; as cited by , in Expressionism; Praeger Publishers, New York, 1973, p. 120
1910 - 1915

Sense, Painting

“A world-picture that encompasses science but also the deep wisdom of theology may help us to explain how it is we can think, how we discover the extraordinary, but so too it may warn us of present dangers and future catastrophes...”

Simon Conway Morris (1951) British palaeontologist

The Boyle lecture (2005)

Wisdom, World, Thinking, Science

“The three most important groups who have been pressing this country toward war are the British, the Jewish, and the Roosevelt Administration. Instead of agitating for war, Jews in this country should be opposing it in every way, for they will be the first to feel its consequences. Their greatest danger to this country lies in their large ownership and influence in our motion pictures, our press, our radio and our government.”

Charles Lindbergh (1902–1974) American aviator, author, inventor, explorer, and social activist

Speech in Des Moines, Iowa lobbying for American isolationism (11 September 1941)

War, Way, Feeling, Country

“Well, if you take a roll of film and instead of making pictures on it, you process it by pickling it in vinegar and putting it in a jar and presenting it for people to look at that way, projected through the lens of the fluid around it, this is so distorted and such a monstrous disfigurement of the normal way in which you are 'supposed to use' film, that it is a kind of pathology; it’s a sickness in the sense of a virus being inserted in the system. I think wellness and change are measured by comparison to potential for extremes of illness or death. I was trying to kill film. I wanted to let it lay over and die.”

Tony Conrad (1940–2016) American filmmaker, violinist and composer

Tony Conrad cited in: Jean-Michel Maulpoix (2005) A Matter of Blue Vol 92-94. p. 35.

Death, People, Way, Thinking

“One part of a picture ought to be like the first part of a tune, that you guess what follows, and that makes the second part of the tune, and so I'm done..”

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

Quote from Gainsborough's letter to his friend William Jackson of Exeter, from Bath, Feb. 1768; 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. 383 (Appendix A - Letter V) 1755 - 1769

Parting

“The law that supports space - this should be the title appropriate to one of my future pictures!”

Paul Klee (1879–1940) German Swiss painter

Quote (1905), # 681, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Law, Support, Future

“Think about some of the highest status men in modern societies: sports stars, rock stars, politicians. At first glance, it might seem that these individuals provide further proof of men’s polygynous nature: They are often notorious for their sexual antics and infidelities (the famous scandal with Tiger Woods is a case in point)… However, the picture is not so simple. Many of these men are in the position where they have essentially an unlimited supply of potential sexual partners. Do all of them or even most of them eschew long-term relationships and opt instead for as many one-night stands and brief love affairs as possible? Sometimes, perhaps, but often they do not. These men — the most eligible bachelors, the highest status males in our species — often do what male chimpanzees never do: They fall in love and form long-term pair bonds.”

Steve Stewart-Williams (1971)

Source: The Ape that Thought It Was a Peacock: Does Evolutionary Psychology Exaggerate Human Sex Differences? (2013), pp. 156-157

Love, Men, Star, Nature

“(Gordon Mitchell) weighed 220 pounds when he did these muscle pictures, and he went down to 160 pounds for this movie, like nothing.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

“The general misunderstanding of a work of art is often due to the fact that the key to its spiritual content and technical means is missed. Unless the observer is trained to a certain degree in the artistic idiom, he is apt to search for things which have little to do with the aesthetic content of a picture. He is likely to look for pure representational values when the emphasis is really upon music-like relationships.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 56
Search for the Real and Other Essays (1948)

Art, Music, Search, Training

“We may compare this sum of the life forces, which we call heredity, to the character of a sensitive plate in the camera. Outside pictures impress themselves more or less distinctly on the sensitive plate… Stored within heredity are all joys, sorrows, loves, hates, music, art, temples, palaces, pyramids, hovels, kings, queens, paupers, bards, prophets and philosophers, oceans, caves, volcanoes, floods, earthquakes, wars, triumphs, defeats, reverence, courage, wisdom, virtue, love and beauty, time, space, and all the mysteries of the universe. The appropriate environments will bring out and intensify all these general human hereditary experiences and quicken them again into life and action, thus modifying for good or evil, character—heredity—destiny.”

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

p, 125
The Training of the Human Plant (1907)

Love, Life, Wisdom, Hate

“We are currently wealthy, fat, comfortable and complacent. We have currently a built-in allergy to unpleasant or disturbing information. Our mass media reflect this. But unless we get up off our fat surpluses and recognize that television in the main is being used to distract, delude, amuse and insulate us, then television and those who finance it, those who look at it and those who work at it, may see a totally different picture too late.”

Edward R. Murrow (1908–1965) Television journalist

RTNDA Convention Speech (1958)

“My picture [A Boat Passing a Lock, 1823-6] is liked at the [Royal] Academy, indeed it forms a decided feature and its light can not be put out. Because it is the light of nature — the Mother of all that is valuable in poetry — painting or anything else… my execution annoys most of them and all the scholastic ones – perhaps the scarifies I make for 'lightness' and 'brightness' is too much but these things are the essence of Landscape.”

John Constable (1776–1837) English Romantic painter

Letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 288
1820s

Nature, Light, Painting

“When age hath made me what I am not now,
And every wrinkle tells me where the plow
Of time hath furrowed; when an ice shall flow
Through every vein, and all my head wear snow;
When death displays his coldness in my cheek,
And I myself in my own picture seek,
Not finding what I am, but what I was,
In doubt which to believe, this, or my glass;
Yet though I alter, this remains the same
As it was drawn, retains the primitive frame
And first complexion; here will still be seen
Blood on the cheek and down upon the chin:
Here the smooth brow will stay, the lively eye,
The ruddy lip, and hair of youthful dye.
Behold what frailty we in man may see,
Whose shadow is less given to change than he.”

Thomas Randolph (poet) (1605–1635) English poet and dramatist

"Upon his Picture"
Poems (pub. 1638)

Death, Youth, Age, Change

“A picture may be worth a thousand words, a formula is worth a thousand pictures.”

Edsger W. Dijkstra (1930–2002) Dutch computer scientist

Dijkstra (EWD1239: A first exploration of effective reasoning)
1990s

“The main objection to the theory of pure visualization is our thesis that the non-Euclidean axioms can be visualized just as rigorously if we adjust the concept of congruence. This thesis is based on the discovery that the normative function of visualization is not of visual but of logical origin and that the intuitive acceptance of certain axioms is based on conditions from which they follow logically, and which have previously been smuggled into the images. The axiom that the straight line is the shortest distance is highly intuitive only because we have adapted the concept of straightness to the system of Eucidean concepts. It is therefore necessary merely to change these conditions to gain a correspondingly intuitive and clear insight into different sets of axioms; this recognition strikes at the root of the intuitive priority of Euclidean geometry. Our solution of the problem is a denial of pure visualization, inasmuch as it denies to visualization a special extralogical compulsion and points out the purely logical and nonintuitive origin of the normative function. Since it asserts, however, the possibility of a visual representation of all geometries, it could be understood as an extension of pure visualization to all geometries. In that case the predicate "pure" is but an empty addition, since it denotes only the difference between experienced and imagined pictures, and we shall therefore discard the term "pure visualization."”

Hans Reichenbach (1891–1953) American philosopher

Instead we shall speak of the normative function of the thinking process, which can guide the pictorial elements of thinking into any logically permissible structure.
The Philosophy of Space and Time (1928, tr. 1957)

Imagination, Problem, Thinking, Change

“A world view is a system of co-ordinates or a frame of reference in which everything presented to us by our diverse experiences can be placed. It is a symbolic system of representation that allows us to integrate everything we know about the world and ourselves into a global picture, one that illuminates reality as it is presented to us within a certain culture.”

Diederik Aerts (1953) Belgian theoretical physicist

Source: World views. From Fragmentation to Integration (1994), p. 8

World, Reality

“His dreams are like commercials
But her dreams are picture perfect and
Our dreams are so related though they're often underestimated”

Jack Johnson (musician) (1975) American musician

Bubble Toes.
Song lyrics, Brushfire Fairytales (2001)

Dreams, Perfection

“In this Summer time of ours with Scheveningen on the shore the bathing time and the hot weather I did very few things.... was only busy calculating my studies [for later paintings] and to see what I should do.... an interior with some figures an outside Schevening shore scene a scene with sentiment of feeling or a picture quite after nature so natural as if it was the old dutch school [17th century].... I hope the next days will bring me a safe outcome from the turbulations in my head, all is so fine and beautiful to do..”

Jozef Israëls (1824–1911) Dutch painter

original text by Israëls
In a letter from The Hague, 26 August 1872, to his friend and colleague George Reid in Edinburgh; as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 363
Quotes of Jozef Israels, 1871 - 1900

School, Beauty, Hope, Feeling

“I think that photography has a lot to do with sculpture – because it is three-dimensional and because it depicts reality. For example, I have always been able to relate to photography more than to painting. When I was photographing the hi-fi adverts ['Hi-Fi-Serie' (1979)] I thought to myself, everyone has one of these towers at home. It's the latest thing, the most modern equipment available. So a sculpture must be at least as modern and must stand up to it. Then I hung the pictures on the wall and put an ellipsoid on the floor and thought, the ellipsoid must be at least as good as this advert. At least as good. That's how good a modern sculpture has to be. Do you see what I mean? That was the dialogue…”

Isa Genzken (1948) German sculptor

2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

Home, Thinking, Reality, Painting

“In the dark ages before the invention of the electronic vacuum tube there were many legends of living statues and magic pictures. One of the commonest devices of sorcerers and witches was the model of an enemy which somehow embodied his soul, so that injury to the model would be reflected by suffering or death of the original… Idolatry, witchcraft and other superstitions are so deeply rooted and widespread that it is possible that even the most detached scientific activity may be psychologically equivalent to them; such activity may help to satisfy the desire for power, to assuage the fear of the unknown or to compensate for the flatness of everyday existence.”

William Grey Walter (1910–1977) American-born British neuroscientist and roboticist

Source: An imitation of life (1950), p. 42.

Death, Age, Fear, Soul

“In a war the normal codes of civilized behavior are suspended. It would be unthinkable in so-called normal life to go into someone's home where a family is grieving over the death of a loved one and spend long moments photographing them. It simply wouldn't be done. Those picture could not have been made unless I was accepted by the people I'm photographing. It's simply impossible to photograph moments such as those…without the complicity of the people I'm photographing…without the fact that the welcomed me, that they accepted me, that they wanted me to be there. They understand that a stranger who's come there with a camera to show the rest of the world what is happening to them…gives them a voice in the outside world that they otherwise wouldn't have. I try my best to approach people with respect. I want them to see that I have respect for them and the situation they're in. I want to be very open in my approach…feel open in my own heart towards them. I want them to be aware of that. People do sense it…with very few words…sometimes with no words at all.”

James Nachtwey (1948) American photographer

War Photographer, documentary, 2001

Love, Life, Death, War

“About 70 years ago, only a small number of “elementary particles”, thought to be the basic building blocks of matter, were known: the proton, the electron, and the photon as the quantum of radiation. All these particles are stable (the neutron is stable only in nuclear matter, the free neutron decays by beta decay: n→p+e−+\overline{\nu}). Owing to the availability of large accelerators, this picture of a few elementary particles has profoundly changed: today, the standard reference Review of Particle Properties lists more than 100 particles. The number is still growing as the energies and luminosities of accelerators are increased.”

Walter Greiner (1935–2016) German physicist

Source: Quantum Chromatodynamics (3rd ed., 2007), Ch. 1 : The Introduction of Quarks

Change

“For me, Christ has always symbolized the true type of the Jewish martyr. That is how I understood him in 1908 when I used this figure for the first time... It was under the influence of the pogroms. Then I painted and drew him in pictures about ghettos, surrounded by Jewish troubles, by Jewish mothers, running terrified with little children in their arms.”

Marc Chagall (1887–1985) French artist and painter

quote from: From Rebel to Rabbi: Reclaiming Jesus and the Making of Modern Jewish Culture, Matthew B. Hoffman; Stanford University Press, 2007, p. 218 Chagall started in 1912 (in Paris) to paint his 'Golgotha' https://en.wikipedia.org/wiki/File:Marc_Chagall,_1912,_Calvary_(Golgotha)_Christus_gewidmet,_oil_on_canvas,_174.6_x_192.4_cm,_Museum_of_Modern_Art,_New_York.jpg and later more Crucifixions. In this (later! quote) Chagall looks back on this question. 1910's

Children, Time, Christ, Painting

“If I can't picture it, I can't understand it.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

Attributed to Einstein by physicist John Archibald Wheeler in John Horgan's article "Profile: Physicist John A. Wheeler, Questioning the 'It from Bit'". Scientific American, pp. 36-37, June 1991. Reprinted here http://www.scientificamerican.com/article.cfm?id=pioneering-physicist-john-wheeler-dies after Wheeler's death. Attributed in posthumous publications

Understanding

“Among the thirteenth-century windows the Western Rose alone seems to affect a rivalry in brilliance with the lancets, and carries it so far that the separate medallions and pictures are quite lost,— especially in direct sunshine,— blending in a confused effect of opals, in a delirium of color and light, with a result like a cluster of stones in jewelry. Assuming as one must, in want of the artist's instruction, that he knew what he wanted to do, and did it, one must take for granted that he treated the Rose as a whole, and aimed at giving it harmony with the three precious windows beneath. The effect is that of a single large ornament; a round breastpin, or what is now called a sun-burst, of jewels, with three large pendants beneath.”

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

Mont Saint Michel and Chartres (1904)

Color, Light, Sun

“Pat Gray: How would you handle a situation like the one that just developed in North Korea?Sarah Palin: Well, North Korea, this is stemming from a greater problem, when we're all sitting around asking, "Oh no, what are we going to do" and we're not having a lot of faith that the White House is going to come out with a strong enough policy to sanction what it is that North Korea's gonna do. So this speaks to a bigger picture that certainly scares me in terms of our national security policy. But obviously, we've got to stand with our North Korean allies. We're bound to by treaty. We're also bound to by—Steve Burguiere: South Korean.Palin: Yes, and we're also bound by prudence to stand with our South Korean allies, yes.”

Sarah Palin (1964) American politician

Radio interview http://www.glennbeck.com/content/articles/article/196/48554/, The Glenn Beck Program, , quoted in * 2010-11-24 Sarah Palin: 'We've got to stand with our North Korean allies' Richard Adams's Blog The Guardian http://www.guardian.co.uk/world/richard-adams-blog/2010/nov/24/sarah-palin-north-korea-allies 2014

Faith, Problem, Strong, Housing

“Forget 'redeeming social value,' dirty pictures are fun. When I die I want my ashes sprinkled over a nudist camp.”

L. Neil Smith (1946) American writer

The Venus Belt, 1980.

Forgetting

“Perhaps the editor may be accused of nationality, when he says, that, taking the total merits of this work together, he prefers it to the early exertions of even the Italian muse, to the melancholy sublimity of Dante, and the amorous quaintness of Petrarca…Here indeed the reader will find few of the graces of fine poetry, little of the attic dress of the muse; but here are life and spirit, and ease and plain sense, and pictures of real manners, and perpetual incident and entertainment. The language is remarkably good for the time, and far superior in neatness and elegance even to that of Gawin Douglass, who wrote more than a century after.”

John Barbour (1316–1395) Scottish poet

John Pinkerton, in his edition of The Bruce (London: G. Nicol, 1790) vol. 1, p. x.
Criticism

Life, Sense, Time

“Picturing others and everything which brings you closer to them is futile from the instant that ‘communication’ can make their presence immediate.”

Jean Baudrillard (1929–2007) French sociologist and philosopher

Source: 1980s, The Ecstasy of Communication (1987), p. 42

Communication

“I like them all. … They're all pictures of me when I wrote them. … I have no favorite songs.”

Paul Simon (1941) American musician, songwriter and producer

Pop Chronicles Show 36 - The Rubberization of Soul: The great pop music renaissance. Part 2 http://digital.library.unt.edu/ark:/67531/metadc19795/m1/, interview recorded (20 December 1967) http://web.archive.org/web/20110615153027/http://www.library.unt.edu/music/special-collections/john-gilliland/o-s

“I love irony in pictures. There's one photograph from Vietnam by Philip Jones Griffiths that shows a very large GI having his pocket picked by a tiny Vietnamese woman. It told the whole story of the clash of two cultures and how the invader could never win.”

John Pilger (1939) Australian journalist

John Pilger, This much I know http://www.guardian.co.uk/media/2005/nov/13/pressandpublishing.observermagazine, The Observer, 13 November 2005

Love

“The picture rises before us vivid and bright: the finely carved, dragon-shaped prow; the high, curving stern; the long row of shields, black and yellow alternately, ranged along the sides; the gleam of steel; the scent of murder.”

Winston S. Churchill book A History of the English-Speaking Peoples

On the Viking Long Ships, Vol I; The Birth of Britain.
A History of the English-Speaking Peoples (1956–58)

“Not even the church is so powerfully equipped to serve the public psychologically as is the motion picture company.”

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

Henry W. Levy, "Professor to Cure Scenarios with Wrong Emotional Content: Dabbled in Movies While at Harvard; Now Sought By Hollywood with Offer of Favorable Contract", New York University News January 1929; Jill Lepore, The Secret History of Wonder Woman (2014), p. 137.

“Nature paints the best part of a picture, carves the best parts of the statue, builds the best part of the house, and speaks the best part of the oration.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1870s, Society and Solitude (1870), Art

Nature, Parting, Painting, Housing

“As I was painting today, some thoughts came to me and I want to write them down for people I love. I know that I shall not live very long. But I wonder, is that sad? Is a celebration more beautiful because it lasts longer? And my life is a celebration, a short, intense celebration. My powers of perception are becoming finer.... with almost every breeze I take, I get a new sense and understanding of the linden tree, of ripened wheat, of hay... I suck everything up into me. And if only now love would blossom for me, before I depart; and if I can paint three good pictures, then I shall go gladly, with flowers in my hair..”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal (1897); as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 196
1897

Love, Life, People, Sadness

“The history of philosophical system is the picture gallery of reason.”

Ludwig Feuerbach (1804–1872) German philosopher and anthropologist

Z. Hanfi, trans., in The Fiery Brook (1972), p. 68
Towards a Critique of Hegel’s Philosophy (1839)

History

“If I try to hold on the currently predominant view and derive the unity of my self, … I find myself with an impenetrable thicket of questions. … Why is it precisely at this intermediate level in the hierarchy of successively superimposed unities (cell, organ, human body, state)—why, I ask, it is precisely at the level of my body that unitary self-consciousness comes into the picture, whereas the cell and the organ do not as yet possess it and the state possesses it no longer?”

Erwin Schrödinger (1887–1961) Austrian physicist

Source: My View of the World (1951), p. 33

Question, Success

“Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off.”

Per Kirkeby (1938–2018) Danish artist

Source: 1965 - 1995, Bravura', Per Kirkeby, (1982), chapter 'Caption', pp. 83-84

Understanding, Painting

“And round the walls were Pictures : some calm scenes
Of Earth's green loveliness, and some whose hues
Were caught from faces in whose smile our life
Is one of Paradise; and Statues, whose white grace
Is as a dream of poetry.”

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

The London Literary Gazette, 1823

Life, Smile, Dreams

“What a curious picture it is to find man, homo sapiens, of divine origin, we are told, seriously considering going underground to escape the consequences of his own folly. With a little wisdom and foresight, surely it is not yet necessary to forsake life in the fresh air and in the warmth of the sunlight. What a paradox if our own cleverness in science should force us to live underground with the moles.”

J. William Fulbright (1905–1995) American politician

Address to the Foreign Policy Association, New York City (October 20, 1945), in Fulbright of Arkansas: The Public Positions of a Private Thinker (1963)

Life, Wisdom, Science

“Jake jerked a thumb at the door. "Al right. Get the hell out of here, and take all your pictures of naked women with you." "Yes, sir." Chuckling, Potter scooped up the folder of reconnaissance photos and started out. He paused with his hand on the doorknob. "Good luck," he said. "You've done everything you could to get us ready, but we'll still need it." "I'll put in a fresh requisition with the Quartermaster Corps," Jake said. Potter nodded and left. Jake shook his head in bemusement. He might have made stupid jokes like that with Ferd Koenig and a couple of other old-time Party buddies, but not with anybody else. So why make them with Potter? But he didn't need long to find the answer. He'd known Potter longer than he'd known Koenig or any of the other Party men. They'd both hung tough when the Army of Northern Virginia was falling to pieces all around them. If the president of the greatest country in North America- no, in the world!”

Harry Turtledove book American Empire: The Victorious Opposition

couldn't joke around with the one man who'd known him when he was just a sergeant, with whom could he joke? Nobody. Nobody at all.
Source: American Empire: The Victorious Opposition (2003), p. 533

Women, Men, Stupidity, World

“Every day I am thinking about the Art school [which Walden wants to start in Germany, since 1915-16]... If our pursuit is really to make great progress in future, the Art school must produce individualities who can with our assist really continue from their inside and start creating on their own, without always studying the pictures of other artists.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich denke immer viel über die Kunstschule nach [ die Walden seit 1915/16 anfangen möchte].. .Wenn unser Streben wirklich in der Zukunft grosse Fortschritte machen soll, muss die Kunstschule Individualitäten hervorbringen, die durch uns wirklich vo inneren heraus weiter können und anfangen zu schaffen, ohne immer Bilder von anderen zu sehen.
Quote in a letter of Jacoba van Heemskerck to Herwarth Walden in Berlin, 15 August 1917; as cited in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, pp. 15-16
1910's

School, Art, Thinking, Study

“Now, Pop enjoyed a good beer every now and again, but he ordered his men to cut those hoses with fire axes. Pop had to have a protective detail, because certain people were angry and shocked that someone in law enforcement would do that. But that’s what we want as citizens—that’s what we expect. And so I keep that picture of Pop on my office wall to remind me of his integrity, and his pride in the integrity of his work.”

James Comey (1960) American lawyer and the seventh director of the Federal Bureau of Investigation (FBI)

2010s, Hard Truths: Law Enforcement (2015)

Men, People, Law, Beer

“Time's arrow of “just history” marks each moment of time with a distinctive brand. But we cannot, in our quest to understand history, be satisfied only with a mark to recognize each moment and a guide to order events in temporal sequence. Uniqueness is the essence of history, but we also crave some underlying generality, some principles of order transcending the distinction of moments—lest we be driven mad by Borges's vision of a new picture every two thousand pages in a book without end. We also need, in short, the immanence of time's cycle.”

Stephen Jay Gould book Time's Arrow, Time's Cycle

Source: Time's Arrow, Time's Cycle (1987), p. 196

Books, History, Understanding, Time

“Even if I’d stayed [in the US to finish The Magnificent Ambersons I would’ve had to make compromises on the editing, but these would’ve been mine and not the fruit of confused and often semi-hysterical committees. If I had been there myself I would have found my own solutions and saved the pictures in a form which would have carried the stamp of my own effort.”

Orson Welles (1915–1985) American actor, director, writer and producer

In conversation with Peter Bogdanovich in This is Orson Welles.

Effort

“The picture's substance reflects the painter's substance, showing how much he has felt of himself and his society, how much he spans and how deep his experience goes.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

“The subject reports itself, it is never looked for. Afterwards a small drawing will follow for the color-planes which are determined immediately. These colors will be printed by large logs and updated and enlivened with the hand-roller. For pressing I use an old hand-press with lever (from c. 1800)... Sometimes it is necessary to press heavily, other times only very light. Sometimes one half of the block is rolled in [with ink] bold, the other half only skimpy. By first printing sometimes the first layer of paint on a piece of paper, a gentle tint appears which is then printed on the original. Another time I print the first print of the paper back on the original... As soon as the color-planes have been applied, the first state is reached, so to say..
.. Of course all kinds of side-steps can be made, while working. In case of enlivening the picture - both in terms of color or decoration - the main goal I always keep in mind.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Het onderwerp meldt zichzelf en wordt nooit gezocht, daarna volgt een kleine tekening voor de kleurvlakken die meteen vaststaan. Deze kleuren worden met groote houtblokken gedrukt en met de handrol bijgewerkt en verlevendigt. Als pers gebruik ik een oude handpers met hefboom (c. 1800).. .Soms is het noodig zwaar te drukken, soms heel licht; soms wordt de ene helft van het blok vet ingerold [met inkt], de andere helft schraal, ook wordt door eerst op een stuk papier de eerste laag verf af te drukken een lichte tint gekregen die dan op het origineel afgedrukt wordt, een andere keer druk ik de eerste druk van het papier weer op het origineel af.. Zijn de kleurvlakken aangebracht, dan is als het ware de eerste staat bereikt..
.Het spreekt vanzelf dat onder het werk verschillende zijsprongetjes gemaakt kunnen worden. Ter verlevendiging, zowel wat kleur als wat versiering aangaat: het hoofddoel staat steeds voor oogen.
Quote from Werkman's letter (6.) to August Henkels, 24 Jan. 1941; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 134
1940's

Color, Light, Appearance, Time

“Artificial Life [AL] is the study of man-made systems that exhibit behaviors characteristic of natural living systems. It complements the traditional biological sciences concerned with the analysis of living organisms by attempting to synthesize life-like behaviors within computers and other artificial media. By extending the empirical foundation upon which biology is based beyond the carbon-chain life that has evolved on Earth, Artificial Life can contribute to theoretical biology by locating life-as-we-know-it within the larger picture of life-as-it-could-be.”

Christopher Langton (1949) American computer scientist

Source: Artificial Life (1989), p.1

Life, Behavior, Nature, Study

“Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.”

William Baziotes (1912–1963) American painter

Source: 1950s, Artists' Session at Studio 35, (1950), p. 217

People, Painting

“The morning slips away in a Valium haze and catalogues,
And numerous cups of coffee,
In the afternoon the weekly food is put in bags - as you float off down the high street.
The shop windows reflect, play a nameless host to a closet ghost -
A picture of your fantasy, a victim of your misery…”

Paul Weller (singer) (1958) English singer-songwriter, Guitarist

Private Hell, from Setting Sons (1979)

Food, Coffee

“I dread the pictures of my dreams,
For, then I gaze on thee;
And thou art near, and thou art all
That I would have thee be.
And then I startle from my sleep,
And know all false, and watch and weep.”

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

(10th April 1824) Love in Absence
The London Literary Gazette, 1824

Dreams, Art, Sleep, Falseness

“The film has written and spoken dialogue in twenty-five languages-English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian … and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music … a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures.”

Peter Greenaway (1942) British film director

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

Art, Music, Thinking, Dead

“I didn't like movies. You see, in a play you become the play, because you start in the beginning and end up at the end of the script. Movies, you do little bits and you don't know where it fits in. You just do a little bit here and a little bit there and you never see the whole thing, you can never act out the whole thing. It has no unity. I would advise anybody-a kid-instead of doing pictures, get experience! Do theater! Get theater in his blood!”

David Manners (1900–1998) Canadian-born American actor

Interview with David Manners, Scarlet Street #26 (1997)

“Game theory concepts were first explicitly applied in evolutionary biology by Lewontin (1961). His approach, however, was to picture a species as playing a game against nature, and to seek strategies which minimised the probability of extinction. A similar line has been taken by Slobodkin & Rapoport (1974). In contrast, here we picture members of a population as playing games against each other, and consider the population dynamics and equilibria which can arise.”

John Maynard Smith book Evolution and the Theory of Games

Source: Evolution and the Theory of Games (1973), p. 2.

Game, Nature

“Your eyes, accustomed to semi-darkness, will soon open to more radiant visions of light. The shadows which we shall paint shall be more luminous than the high-lights of our predecessors, and our pictures, next to those of the museums, will shine like blinding daylight, compared with deepest night. We conclude that painting cannot exist today without divisionism... w:Divisionism - [ Paul Signac initiated divisionism slightly earlier, together with Seurat ] - for the modern painter, must be an innate complementariness which we declare to be essential and necessary.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 92.
1910, Manifesto of Futurist Painters,' April 1910

Light, Painting, Night

“I heard Senator Sam Irvin of Watergate fame say something that stayed with me: 'If you can paint a really good picture of a cow, you don't have to write the word "cow" under it.'”

Fred Thompson (1942–2015) American politician and actor

Teaching the Pig to Dance

Painting

“This Cézanne [a 'Still life with Compotier, Fruit and Glass', Cézanne made c. 1879-1882!! ], that you ask me for is a pearl of exceptional quality and I already have refused three hundred francs for it; it is one of my most treasured possessions, and except in absolute necessity, I would give up my last shirt before the picture.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Quote in a letter (June 1888) to Gauguin's friend Émile Schuffenecker; as cited in Impressionism: A Centenary Exhibition, Anne Distel, Michel Hoog, Charles S. Moffett, the Metropolitan Museum of Art, (New York, N.Y.) 1975, p. 56
1870s - 1880s

Life

“The photograph reproduces objects in a different way from the painted picture, because the camera does not apprehend objects: it sees them. In 'free-hand drawing' the object is apprehended in all it parts... By tracing the outlines with the aid of a projector you can bypass and elaborate this process of apprehension. You no longer apprehend but see and make (without design) what you have not apprehended. And when you don't know what you are making, you don't know, either, what to alter or distort.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 51, note 60

Way, Parting, Drawing, Painting

“The spirit of history can't be caught in pictures. …History, seriously pursued, belongs in the realm of uncertainty. A picture is a certainty.”

Sten Nadolny book The Discovery of Slowness

The Discovery of Slowness (1983, 1987)

History

“In my defence… it depends how you define the word 'mistake'. What people call Murrayisms are malapropisms or getting the words in the wrong order. You're standing there in front of a TV set and getting live pictures. The words are pouring out of you. You have to say what comes into your head, and sometimes the wrong words come, in the wrong order or I'd make prophecies which immediately turned out to be wrong.”

Murray Walker (1923) Motorsport commentator and journalist

Alison Kervin (May 10, 2008) "The Daily Telegraph: Still Go Go Go for Walker in the slow lane Legendary voice of F1 remains fuelled with a passion for motorsport", The Daily Telegraph, p. 023.
Interviews

People, Dependency

“Size, the mere number of square inches, of a picture, counts for nothing. A small picture may be quite as satisfying as a large; for remember that, as compared with the size of the mountain itself, the difference between a picture of it, thirty inches long, and one of six inches, is less than trifling.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Development of negatives, p. 108

Mountain

“She said, "I'll show you a picture,
A picture of tomorrow,
There's nothing changing, it's all sorrow."

"Oh, no, please don't show me
I'm a swine, you don't wanna know me!"”

Pete Doherty (1979) English musician, writer, actor, poet and artist

"Horrorshow" (with Carl Barat)
Lyrics and poetry

Swine, Change

“In recent years, many men of science have come to realize that the scientific picture of the world is a partial one — the product of their special competence in mathematics and their special incompetence to deal systematically with aesthetic and moral values, religous experiences and intuitions of significance. Unhappily, novel ideas become acceptable to the less intelligent members of society only with a very considerable time-lag. Sixty or seventy years ago the majority of scientists believed — and the belief caused them considerable distress — that the product of their special incompetence was identical with reality as a whole. Today this belief has begun to give way, in scientific circles, to a different and obviously truer conception of the relation between science and total experience.”

Aldous Huxley book Ends and Means

Ends and Means (1937)

Men, World, Way, Intelligence

“I'm sorry, those pictures from the Abu Ghraib. At first, they, like infuriated me, I was sad. Then like, a couple days later, after they cut the guy's head off, they didn't seem like much. And now, I like to trade them with my friends.”

Dennis Miller (1953) American stand-up comedian, television host, and actor

8 June 2004
Dennis Miller

Sadness, Guy

“Society today is being fragmented by a way of thinking that is inherently short-sighted because it disregards the full horizon of truth - the truth about God and about us. By its nature, relativism fails to see the whole picture. It ignores the very principles that enable us to live and flourish in unity, order and harmony.”

Pope Benedict XVI (1927) 265th Pope of the Catholic Church

2008, Youth Day Vigil (19 July 2008)

God, Truth, Way, Nature

“Let's not eliminate nature. Too bad if we fail. You see, in his 'Dejeuner sur l'herbe', Manet ought to have added - I don't know what - a touch of this nobility, whatever it is in this picture that conveys heaven to our every sense. Look at the golden flow of the tall woman, the other one's back... They are alive and they are divine.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 186 in: 'What he told me – II. The Louvre' [standing in the Louvre in front of the painting 'Le concert Champêtre', painted by Giorgioni (ca. 1510)

Nature, Sense

“Maybe God is waiting for us to be silent long enough so he may begin painting a new picture in our imaginations, to begin transforming our image of a manageable deity into one that can truly inspire.”

Skye Jethani

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

God, Imagination, Waiting, Painting

“Put the picture away or, preferably, send it back to me, dear Valentin. If people cannot understand it is based on their inner engagement with these matters, then there is no point in showing the thing at all.”

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

In a letter to his art-dealer Curt Valentin, Amsterdam, 11 February 1938; as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, p. 52
1930s

People, Understanding

“There she was, Beer's Unity, with almost every sail set and filled so that she appeared to be leaning forward into the surging spray beneath her beakhead. The huge broad-pendant straight out like painted metal, a picture of naval strength at its best.”

Douglas Reeman (1924–2017) British author

For My Country's Freedom, Cap 17 "And For What?"

Beer, Appearance, Painting

“You should keep sacred every impuls of your mind; you should keep sacred every pious sentiment; because that is art in us. In an inspired hour she will appear in a clear form, and this form will be your picture.”

Caspar David Friedrich (1774–1840) Swedish painter

as quoted in Nature and Culture: American Landscape and Painting, 1825-1875, Barbara Novak; Oxford University Press, 2007, note 74
undated

Art, Appearance

“Although Titian's works seem to many to have been created without much effort, this is far from the truth and those who think so are deceiving themselves. In fact, it is clear that Titian retouched his pictures, going over them with his colours several times, so that he must obviously have taken great pains. The method he used is judicious, beautiful, and astonishing, for it makes pictures appear alive and painted with great art, but it conceals the labour that has gone into them.”

Giorgio Vasari (1511–1574) Italian painter, architect, writer and historian

Giorgio Vasari in "Titian of Cadore", in Lives of the Artists as translated by George Bull (1987), Vol. I p. 458.

Pain, Truth, Beauty, Art

“The truth emerging from this scattered picture of nuclear proliferation is simple: there is a stronger chance of a nuclear bomb being used now than at almost any point in the Cold War.”

Johann Hari (1979) British journalist

Will we wake from our nuclear coma?, JohannHari.com, October 20, 2004, 2007-01-26 http://www.johannhari.com/archive/article.php?id=465,

War, Truth, Chance

“I want so to live that I work with my hands and my feeling and my brain. I want a garden, a small house, grass, animals, books, pictures, music. And out of this, the expression of this, I want to be writing (Though I may write about cabmen. That's no matter.) But warm, eager, living life — to be rooted in life — to learn, to desire, to feel, to think, to act. This is what I want. And nothing less. That is what I must try for.”

Katherine Mansfield (1888–1923) New Zealand author

Journal entry (14 October 1922), published in The Journal of Katherine Mansfield (1927)

Life, Books, Music, Feeling

“I think half the point of painting a picture is that you don't know what will happen … that if painters did know what was going to happen they wouldn't bother to do it.”

Lucian Freud (1922–2011) British painter and engraver

Interview with Martin Gayford, Independent on Sunday 26 May 2002
Other

Thinking, Painting

“On protests against going to war with Iraq: "One woman bore a picture of some female genitalia – possibly hers, the provenance was obscure – over the caption 'This Bush Is For Peace.' Another waxed eloquent: 'Trim Bush.' Out in Marin County somewhere, other bushes for peace disrobed, lay down on a hillside, and formed the words 'No War.' I wonder if there are any conflicted nudists, with a bush for Iraq and a rack for Bush.”

Mark Steyn (1959) Canadian writer

The Spectator, 25 January 2003

War, Peace

“[Cubitt hurling insults at Pinky after he refuses to lend him money] The picture Cubitt drew had got nothing to do with him: it was like the pictures men drew of Christ, the image of their own sentimentality. …He was like a professor describing to a stranger some place he had only read in books:…when all the time it was a country the stranger knew…”

Graham Greene book Brighton Rock

Brighton Rock (1938)

Men, Money, Books, Time

“In any game, you get pictures and at half time there were 11 players who had half a shirt for Saturday.”

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

27-Aug-2008 Hull City OWS
More pictures for Phil's collection, but unfortunately also something of a kit problem.

Game, Time

“The data in the public domain suggest the truth about bin Laden's activities in Afghanistan is much closer to the picture of him as 'the great freedom fighter of the Islamic world" than to the Western experts' description of him as an Islamic do-gooder or an immature, irrational youth.”

Michael Scheuer (1952) American counterterrorism analyst

Through Our Enemies Eyes (p. 92)
2000s

Truth, Youth, World, Freedom

“Perhaps a suitable analogy to explain the short-falls of Dawkins's account of evolution is to think of an oil painting. In this analogy Dawkins has explained the nature and range of pigments; how the extraordinary azure colour was obtained, what effect cobalt has, and so on. But the description is quite unable to account for the picture itself. This view of evolution is incomplete and therefore fails in its side-stepping of how information (the genetic code) gives rise to phenotype, and by what mechanisms. Organisms are more than the sum of their parts, and we may also note in passing that the world depicted by Dawkins has lost all sense of transcendence.”

Simon Conway Morris (1951) British palaeontologist

p9.
The Crucible of Creation (1998)

World, Nature, Thinking, Sense

“Eschew the monumental. Shun the Epic. All the guys who can paint great big pictures can paint great small ones.”

Ernest Hemingway (1899–1961) American author and journalist

Letter (5–6 January 1932); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

Guy, Painting

“.. Our life is a pilgrim's progress. I once saw a very beautiful picture: it was a landscape at evening. In the distance on the right-hand side a row of hills appeared blue in the evening mist. Above those hills the splendour of the sunset, the grey clouds with their linings of silver and gold and purple. The landscape is a plain or heath covered with grass and its yellow leaves, for it was in autumn. Through the landscape a road leads to a high mountain far, far away, on the top of that mountain is a city wherein the setting sun casts a glory. On the road walks a pilgrim, staff in hand. He has been walking for a good long while already and he is very tired. And now he meets a woman, or figure in black, that makes one think of St. Paul's word: As being sorrowful yet always rejoicing. That Angel of God has been placed there to encourage the pilgrims and to answer their questions and the pilgrim asks her: Does the road go uphill then all the way? And the answer is: "Yes to the very end."”

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

Quote of Vincent van Gogh, from his 'First Sunday Sermon' http://www.vggallery.com/misc/archives/sermon.htm: 'I Am a Stranger on the Earth..'; 29 October 1876 1870s

Life, God, Beauty, Angels

“So, all through the medieval period, Foreign and Indian Muslims strove hard to make India a Muslim country by converting and eliminating the Hindus. They killed and converted, and converted and killed by turns. In the earlier centuries of their presence here, the picture was sombre indeed. Turkish rule was established in northern India at the beginning of the thirteenth century. Within fifteen years of Muhammad Ghori’s occupation of Delhi, the Turks rapidly conquered most of the major cities of northern India. Their lightening success, as described by contemporary chroniclers, entailed great loss of life. Qutbuddin Aibak’s conquests during the life-time of his master and later on in the capacity of king (c.1200-1210) included Gwalior, parts of Bundelkhand, Ajmer, Ranthambhor, Anhilwara, as well a parts of U. P. and Malwa. In Nahrwala alone 50,000 persons were killed during Aibak’s campaign.8 No wonder, he earned the nickname of killer of lacs.9 Bakhtiyar Khalji marched through Bihar into Bengal and massacred people in both the regions. During his expedition to Gwalior Iltutmish (1210-36) massacred 700 persons besides those killed in the battle on both sides. His attacks on Malwa (Vidisha and Ujjain) were met with stiff resistance and were accompanied by great loss of life. He is also credited with killing 12,000 Khokhars (Gakkhars) during Aibak’s reign.10 The successors of Iltutmish (Raziyah, Bahram, etc.) too fought and killed zealously. During the reigns of Nasiruddin and Balban (1246-86) warfare for consolidation and expansion of Turkish dominions went on apace. Trailokyavarman, who ruled over Southern U. P., Bundelkhand and Baghelkhand, and is called “Dalaki va Malaki” by Persian chroniclers, was defeated after great slaughter (1248). In 1251, Gwalior, Chanderi, Narwar and Malwa were attacked. The Raja of Malwa alone had 5,000 cavalry and 200,000 infantry and would have been defeated only after great loss of life. The inhabitants of Kaithal were given such severe punishment (1254) that they ‘might not forget (the lesson) for the rest of their lives.’ In 1256 Ulugh Khan Balban carried on devastating warfare in Sirmur, and ‘so many of the rebellious Hindus were killed that numbers cannot be computed or described.’ Ranthambhor was attacked in 1259 and ‘many of its valiant fighting men were sent to hell.’ In the punitive expedition to Mewat (1260) ‘numberless Hindus perished under the merciless swords of the soldiers of Islam.’ In the same year 12,000 men, women and children were put to the sword in Hariyana.”

K. S. Lal book Indian Muslims: Who Are They

Indian Muslims: Who Are They (1990)

Life, Women, Men, Children

“[Director Christopher] Nolan has not only crafted the best Batman movie, but arguably the second-best motion picture superhero narrative (topped only by the linked duo of Superman and Superman II). For those who thought Spider-Man and X-Men had a lot to offer, wait till you see where this film goes. … Batman Begins is a strong re-start to a franchise that deserves better than it has often been accorded.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/b/batman_begins.html of Batman Begins (2005). Three-and-a-half star reviews

Men, Strong, Waiting