Quotes about picture
page 9

“The only generally agreed upon definition of mathematics is "Mathematics is what mathematicians do." […]
In the face of this difficulty [of defining "computer science"] many people, including myself at times, feel that we should ignore the discussion and get on with doing it. But as George Forsythe points out so well in a recent article*, it does matter what people in Washington D. C. think computer science is. According to him, they tend to feel that it is a part of applied mathematics and therefore turn to the mathematicians for advice in the granting of funds. And it is not greatly different elsewhere; in both industry and the universities you can often still see traces of where computing first started, whether in electrical engineering, physics, mathematics, or even business. Evidently the picture which people have of a subject can significantly affect its subsequent development. Therefore, although we cannot hope to settle the question definitively, we need frequently to examine and to air our views on what our subject is and should become.”

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

Hamming cites Forsythe, G.E., "What to do until the computer scientist comes", Am. Math. Monthly 75 (5), May 1968, p. 454-461.
One Man's View of Computer Science (1969)

People, Hope, Feeling, Mathematics

“As a little child, I remember having conflicts with other people over religion at 5-years-old, at 8-years-old, and without realising it. Certainly, not realising my whole life would be this whole argument. I would ask simple questions to my babysitter when I was a little boy, like, “How does Jesus turn water into wine? I know water is H2O. I know that wine is alcohol and fruit juice, and I don’t know what the chemical components of that are.” But as it turned out, when I grew up I looked it up. It is only the difference of a carbon atom. The molecules are much more complex. But they involve oxygen, hydrogen, and some additional carbons. That’s it. But all I knew at the time, water is H2O, and alcohol and fruit juice are something else. How does Jesus turn water from H2O into H2O and whatever else? I thought someone would give me some kind of intelligible answer. Like how Jesus does that, whether he uses telekinesis or whatever he does… But they don’t come up with explanations like that, they didn’t want explanations. They didn’t even want to believe people had explanations. When I was growing up, I found believers not only hated accurate scientific answers, but they hated any answer that sounded scientific. It was a funny thing. I was told all of the time that “sceptics were cynics” because we miss out on the big picture that only the believers can see.”

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

Exclusive Interview with Aron Ra – Public Speaker, Atheist Vlogger, and Activist https://conatusnews.com/interview-aron-ra-past-president-atheist-alliance-america/, Conatus News (May 17, 2017)

Life, Hate, People, Alcohol

“When a novel department store called Gigantti was opened in the capitol area a year or two ago, which promised gadgets of many colors for the stinking cheap price of 9:90, 99:90, 999:90; the parking field's rafts of metal plated beetles reached the horizon, and the human lines wriggling midst them in tens of thousands surpassed all the records of the good old Soviet Union. As I looked at those newspaper pictures, a tormented scream erupted from my lips: no democracy, for heaven's sake, no democracy! No common voting right, never! No, no, no!”

Pentti Linkola (1932) Finnish ecologist

Thoughts And Memories About The Old Educated Class - A View Into The Century's Ideological History (2000)

Color, Democracy

“This is a proposal for a show, in which I imagine a Newly Born Limb, the Ghost of A Flea, and an Endless Note Petrified in Stone. I picture two prosthetic arms, one ancient, one modern, reaching out as far as they can, to grasp all that there is in the world.”

Mark Leckey (1964) British artist

"Prop4aShw" (2013)

World, Imagination

“I had to go to the Bauhaus to the basic course that was given by Itten. And I submitted to that although I was a little older than Itten. But I have not the best memories of my studies there. So when that course was over everyone had to exhibit his work and then it was decided whether or not one could continue. I was accepted to continue. But I wanted to go into a workshop and I wanted to make stained glass. That was my old dream. Glass pictures. But Itten thought I was not ready for that. Certainly to delay my study in glass, Itten said, 'Glass painting is a branch of wall painting and you should go first to our wall painting workshop,' And I said, 'That's nonsense. Wall painting has to do with reflected light and glass painting with direct light.' So I said 'Sorry, I'll do my own stuff on my own.”

Josef Albers (1888–1976) German-American artist and educator

I had no money. Just a Rucksack and a hammer. And I started these assemblages. That was in 1921, But in all books on assemblages these things are not mentioned.
Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Money, Books, Dreams, Study

“Look at why Jesus strictly avoided speaking the language of the theologians of his day. It’s plain to see what an enormous liberation there lies in hearing something about God in the words of poetry. Imagine that we would speak about God in the music of Mozart and Beethoven or in the pictures of van Gogh… It would be impossible to fight wars over the true faith in the Name of Mozart or van Gogh… The language of poetry, the parables of Jesus, is international. You can’t and mustn’t pour them into dogmas.”

Eugen Drewermann (1940) German psychologist and theologian

"Heil und Heilung - Theologie und Psychoanalyse," speech at a conference of therapists in Basel, Switzerland (1977-05-21)

God, War, Faith, Music

“Perhaps it was his return to Paris [In June 1919 Piet Mondrian returned to Paris] that was needed to provide him with fresh new possibilities in his work. Invigoration. His most recent work is without composition. The division of the picture plane is modular. That means ordinary rectangles, all the same size. The only contrast is in the colour. In my view, this runs counter to his theory concerning the abolition of position and dimension. This is in effect equality of position and dimension.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from his letter to the Dutch modern architect Oud, 24 June 1919; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 126
1912 – 1919

“At best Americans give but limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"The Golden Age, Time Past" (1959), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 239.

Pleasure, History

“In physics you have a bit of everything: you need to be good at solving puzzles, but you also need to see the big picture, to separate important from unimportant things, to quickly understand new materials and quickly see the essence of a paper.”

Carlo Beenakker (1960) Dutch physicist

In Interview with Professor Carlo Beenakker. Interviewers: Ramy El-Dardiry and Roderick Knuiman (February 1, 2006).

Understanding

“My food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment. My companion will be of the same nature as myself and will be content with the same fare. We shall make our bed of dried leaves; the sun will shine on us as on man and will ripen our food. The picture I present to you is peaceful and human, and you must feel that you could deny it only in the wantonness of power and cruelty.”

Mary Wollstonecraft Shelley Frankenstein, or the Modern Prometheus

The monster to Victor Frankenstein in Ch. 17
Frankenstein (1818)

Peace, Food, Feeling, Nature

“With crosses, relics, crucifixes,
Beads, pictures, rosaries, and pixes,—
The tools of working our salvation
By mere mechanic operation.”

Samuel Butler (poet) (1612–1680) poet and satirist

Canto I, line 1495
Source: Hudibras, Part III (1678)

“However Simon thought of the beast, there rose before his inward sight the picture of a human at once heroic and sick.”

William Golding book Lord of the Flies

Source: Lord of the Flies (1954), Ch. 6: Beast from Air.

“In 1982, when he was 45 and Philadelphia 76er owner Harold Katz was hot after him, the Houston Chronicle's George White asked Elvin Hayes if Chamberlain could still play. "Some things about Wilt, you never forgot," Hayes said. "He was such an awesome physical specimen. To go up under Wilt Chamberlain, to be down there and look up at him when he's towering up over you waiting to dunk, was a terrifying picture. To see him poised up there, knowing he was about to sweep down with that big jam... that must be the most frightening sight in sports. The ball goes shooting through the net and you better have your body covered up because he could really hurt someone. I was scared. Everyone was scared when he got that look in his eye, that don't-try-to-stop-this look that he got when he really wanted it.... "I think Russell realized there was no way he could have stopped Wilt if he had been fully intent on making it a two-man game. No one who ever put on a uniform could have done it. When I played him, I kept this foremost in my mind: Above all, don't make him mad. Don't embarrass him. You wanted to keep him quiet as long as possible."”

Wilt Chamberlain (1936–1999) basketball player

[Heisler, Mark, Larger Than Life, The Los Angeles Times, 1999-10-13]
Post-NBA life

Way, Game, Thinking, Sport

“If in looking at a picture you have been profoundly moved by it, but have not noticed the color or drawing, you may be sure that they are technically perfect.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Color, Drawing, Perfection

“In other words, the listener’s own picture was painted in the shining coulours St Odhran provided. By seeing what they wished, they also saw what he wished them to see. “They are the Orchestra,” he had told me earlier, “and I am merely the Conductor.””

Michael Moorcock book The City in the Autumn Stars

Source: The City in the Autumn Stars (1986), Chapter 6 (p. 269)

Painting

“I considered that the painter's personality should be kept out of things, and therefore pictures should be anonymous. It was I who decided that pictures should not be signed, and for a time Picasso did the same. I thought that from the moment someone else could do the same as myself, there was no difference between the pictures and they should not be signed. Afterwards I realized it was not so and began to sign my pictures again. Picasso had begun again anyhow. I realized that one cannot reveal oneself without mannerism, without some evident trace of one's personality. But all the same one should not go too far in that direction..”

Georges Braque (1882–1963) French painter and sculptor

Source: 1946 - 1963, In conversation with Dora Vallier' (1954), p. 265

Time, Personality

“Apropos of the "The Lifted Veil," I think it will not be judicious to reprint it at present. I care for the idea which it embodies, and which justifies its painfulness. A motto which I wrote on it yesterday perhaps is a sufficient indication of that idea: —
"Give me no light, great heaven, but such as turns
To energy of human fellowship;
No powers save the growing heritage
That makes complete manhood."
But it will be well to put the story in harness with some other productions of mine, and not send it forth in its dismal loneliness. There are many things in it which I would willingly say over again, and I shall never put them in any other form. But we must wait a little. The question is not in the least one of money, but of care for the best effect of writing, which often depends on circumstances, much as pictures depend on light and juxtaposition.”

George Eliot (1819–1880) English novelist, journalist and translator

Comments on The Lifted Veil with a motto for it used in the "Cabinet Edition" of her works (1878), in a letter to John Blackwood (28 February 1873), published in George Eliot's Life as Related in Her Letters and Journals (1885), Vol. 4

Money, Pain, Idea, Question

“Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean'. I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean…. I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 81
1960s, Interview with David Sylvester', (1960)

War, Art, Thinking, Passion

“Regarding public Christmas displays: At some point, someone who worked at Rockefeller Center must have said, "Boys, I have a great idea for Christmas. Let's kill a beautiful tree that's been alive for seventy-five years and bring it to New York City. We'll stand it up in Rockefeller Plaza and conceal its natural beauty by hanging shiny, repulsive, man-made objects on it, and let it stand there slowly dying for several weeks while simpleminded children stare at it and people from Des Moines take pictures of it. That way, perhaps we can add our own special, obscene imprint to Christmas in Midtown."”

George Carlin (1937–2008) American stand-up comedian

Books, When Will Jesus Bring the Pork Chops? (2004)

Children, People, Beauty, Way

“Pretend that you are a writer of fiction, and you create a character. This character is so independent, alive and real, that it in turn forms other characters -- and each writes its own book, or forms its own reality. That is a truer picture of your position.”

Jane Roberts (1929–1984) American Writer

Session 511
The “Unknown” Reality: Volume Two, (1979)

Books, Reality

“Here's what I find wrong and here's what I find the common mistake the media makes. I can give you a hundred thousand Scientologists who will say unbelievably positive things about their church to every one you add on there, and I not only am upset about those people not being interviewed, they are, too. And the funny thing about it, and why you find this not really being that one who speaks in the media, is because not just myself, any Scientologist, will open up a paper, will watch this program, they're probably laughing right now, saying, "That isn't Scientology." That's what makes media. Media is controversy. I understand that. And if you really looked at the big picture of what's happening in Scientology, it isn't really controversial, certainly to a Scientologist.”

David Miscavige (1960) leader of the Church of Scientology

People, Understanding

“Why was there nothing it refused? No misery, no regret, no hateful picture too rotten to accept? Like a greedy child it snatched up everything. Just once, could it say, No thank you? I just ate and can't hold another bite?... But my greedy brain says, Oh thanks, I'd love more... my brain would go right ahead and take it and never say, No thank you. I don't want to know or have to remember that. I have other things to do: worry, for example, about tomorrow, about Denver, about Beloved, about age and sickness not to speak of love. But her brain was not interested in the future. Loaded with the past and hungry for more, it left her no room to imagine, let alone plan for, the next day.”

Toni Morrison book Beloved

Beloved (1987)

Love, Hate, Age, Imagination

“The reckoning with idealism as a view of life is universal, but it also touches on something central in art-its life's substance. One must understand that it is impossible to distinguish between a picture’s form and its substance. As the flower's structure is governed by the intentional tension (when it loses the sap the form is lost), so also with art the substance creates the tension. Form and substance are one and the same. Form is the life expression and substance the living painting.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

Life, Art, Flowers, Understanding

“My friend Bonner has just set off to Charlotte Street to pack your picture (an old painting) and forward it; it is a beautiful representation of a summer's evening; calm, warm and delicious; the colour on the man's face is perfect sunshine. The liquid pencil of this school is replete with a beauty peculiar to itself. Nevertheless, I don't believe they had any 'nostrums,' but plain linseed oil; 'honest linseed' as old Wilson called it. But it is always right to remember that the ordinary painters of that day used, as now, the same vehicle as their betters, and also that their works have all received the hardening and enamelling effects of time, so that we must not judge of originality by these signs always.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (20 December 1833), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), pp. 45-46
1830s

School, Beauty, Time, Summer

“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964-65; as cited on collected quotes on the website of Gerhard Richter: on 'Photo-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/photo-paintings-12 1960's

Painting

“I mixed [early 1950's] funny shades of colors and used them but I used them because they made the drawing in my picture move. It wasn't because I was in love with the idea of putting color down. But these colors were the expedient things to use for the way I drew and I say 'draw' not meaning line, though it might have included line. But the way I drew or envisioned or made my work. And it happened that it came out stressing color. But I did not have a vision or a notion about color per se being the thing that would make me or my pictures work or operate.”

Helen Frankenthaler (1928–2011) American artist

quote about shades and drawing
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Love, Color, Way, Idea

“I have seen pictures [on the Salon of Brussel, 1860], of which I had never dreamed and in which I found all that my heart desires, all that I nearly always miss in the Dutch painters. Troyon, Courbet, Diaz, Dupré [all painters of the School of Barbizon, Robert Fleury have made a great impression on me. I am a good Frenchman, therefore; but, as Simon van den Berg says, it is just because I am a good Frenchman that I am a good Dutchman, since the great Frenchmen of today and the great Dutchmen of the past have much in common. Unity, restfulness, earnestness and, above all, an inexplicable intimacy with nature are what struck me most in these pictures. There were certainly also a few good Dutch pieces, but, generally speaking, when you place them next to the great Parisians, they lack that mellowness, that quality which, so to speak, resembles the deep tones of an organ. And yet this luxurious manner came originally from Holland, from our steaming, fat-coloured Holland! They were courageous pictures; there was a heart and a soul in them.”

Gerard Bilders (1838–1865) painter from the Netherlands

Quote from Bilders in his letter (End of 1860); as cited in Dutch Art in the Nineteenth Century – 'The Hague School; Introduction' https://en.wikisource.org/wiki/Dutch_Art_in_the_Nineteenth_Century/The_Hague_School:_Introduction, by G. Hermine Marius, transl. A. Teixera de Mattos; publish: The la More Press, London, 1908 1860's

School, Dreams, Soul, Courage

“Yes, perhaps that was it. For decades now the picture of the world painted by the scientists had become strange, distant, unbelievable. Far easier, then, to ignore it than try to understand. Things were too complicated. Why bother? Turn on the telly, luv. Right.”

Gregory Benford book Timescape

Source: Timescape (1980), Chapter 11 (p. 146)

World, Understanding, Distant, Painting

“Memory works like the collection glass in the Camera obscura: it gathers everything together and therewith produces a far more beautiful picture than was present originally.”

Arthur Schopenhauer book Aphorisms on the Wisdom of Life

Die Erinnerung wirkt wie das Sammlungsglas in der Camera obscura: Sie zieht alles zusammen und bringt dadurch ein viel schöneres Bild hervor, als sein Original ist.
Parerga and Paralipomena (1851), Aphorisms on the Wisdom of Life

Beauty, Memory

“I've repeatedly said that for people as little in common as Joanne and myself, we have an uncommonly good marriage. We are actors, we make pictures — and that's about all we have in common. Maybe that's enough. Wives shouldn't feel obligated to accompany their husbands to a ball game, husbands do look a bit silly attending morning coffee breaks with the neighbourhood wives when most men are out at work. Husbands and wives should have separate interests, cultivate different sets of friends — and not impose one upon the other.”

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

Quoted in Paul Newman (1975) by Charles Hamblett ISBN 0-491-01761-8, p. 176

Men, Marriage, People, Feeling

“Well, I think it [painting] is a life measuring stick. And I'm concerned with being myself, getting to know more and more what that is, what is possible, and what the real meaning of beauty and development is. I'm concerned with development and growth. But I am in my everyday life. I hate to feel deadly. But that does not mean that repetition or experiment isn't in the total picture of growth and development. And I think that pace and place differently at different times for each person.”

Helen Frankenthaler (1928–2011) American artist

quote about her attitude
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Life, Hate, Beauty, Feeling

“An example: if I compose a picture using as objects a scrap of bark, a scrap of butterfly wing and a purely imaginary form, you probably won't recognise the bark, or the butterfly wing, and you'll say: 'What does this stand for? It is an abstract picture. No it's a representational picture'... There is no such thing as 'abstract', or 'concrete' either. There is a good picture and a bad picture. There is the picture that moves you and the picture that leaves you cold... A picture has a value in itself, like a musical score, like a poem.”

Fernand Léger (1881–1955) French painter

Quote in Un Nouveau Realisme, la Couleur Pure et l'Object, Fernand Léger, Ms 1935
Quotes of Fernand Leger, 1930's

Music

“To occupy my imagination, which has been depressed by dwelling on my misfortunes, and to compensate at least in part for some of the considerable expenses I have incurred, I set myself to painting a series of cabinet pictures.... they depict themes that cannot usually be dealt with in commissioned works, where 'capricho' [whim] and invention do not have much of a role to play. I thought of sending them to the academy..”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

letter to his friend Bernardo de Iriarte, deputy of the Royal Academy of San Fernando in Madrid, Jan. 1794; as quoted in 'Goya and Iriarte', in Goya his Life and Work, P. Gassier and J. Wilson, 1971, p. 382
cabinet paintings were small portable paintings, which did not need a lot of wall-space and could be moved around at the owner's whim. Goya's famous series 'Caprichos' really begin after physical and probably mental breakdown in 1792. He was 46, and thereafter deaf until his death in 1828
1790s

Imagination, Parting, Painting

“Too often, this concern for the big picture is simply obscurantist and is put forward by people who prefer vagueness and mystery to (partial) answers. Vagueness is at times necessary and mystery is never in short supply, but I don’t think they’re anything to worship. Genuine science and mathematical precision are more intriguing than are the “facts” published in supermarket tabloids or a romantic innumeracy which fosters credulity, stunts skepticism, and dulls one to real imponderables.”

John Allen Paulos (1945) American mathematician

Source: Innumeracy: Mathematical Illiteracy and its Consequences (1988), Chapter 4, “Whence Innumeracy?” (pp. 126-127)

People, Mathematics, Thinking, Science

“I make pictures, I don't make shelters!”

Helen Frankenthaler (1928–2011) American artist

reacting on the idea of art-historian Dore Ashton of the 'colonizing emptiness' of her paintings
1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“Don't make these pictures any better. Just keep them the way they are.”

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

Of the successful Andy Hardy films.
Halliwell's Who's Who in the Movies (2001 ed)

Way

“Writing poems is perhaps the loveliest deception
Later they'll make a picture or something, then go and drink wine”

Ataol Behramoğlu (1942) Turkish writer

"How Awful When Poetry Ages As It Is Read"
I've Learned Some Things (2008)

Drink, Wine

“I have already said that a thing which 'exists in a person's head' and nowhere else is alternatively called an imaginary thing. The actual making of the tune is therefore alternatively called the making of an imaginary tune. This is a case of creation, just as much as the making of a plan or a disturbance, and for the same reasons, which it would be tedious to repeat. Hence the making of a tune is an instance of imaginative creation. The same applies to the making of a poem, or a picture, or any other work of art.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: The Principles of Art (1938), p. 134

Art, Imagination, Personality

“Science, it is usually believed, helps us to build a picture of objective reality – the world 'out there'. With the advent of the quantum theory, that very reality appears to have crumbled, to be replaced by something so revolutionary and bizarre that its consequences have not yet been properly faced.”

Paul Davies (1946) British physicist

'Prologue', p. 12
Other Worlds: A Portrait of Nature in Rebellion, Space, Superspace, and the Quantum Universe (1980)

World, Reality, Appearance, Science

“I find that I would like now, best of all, to be a good conversationalist. I know I'm not one at present. Oh, I can sit and talk a little of this and that, but I realize that I haven't any definite or profound knowledge. I won't be satisfied with just a patter, a surface glaze of information. I don't want short-cuts to learning. I want to know all about the thing I study.
I'd like to be able to hold my own, to meet on a common ground, with scientists, inventors, clerics, doctors, athletes, authors.
The most worthwhile thing in life is to store your mind with knowledge.
I wish now that I had been able to go to college, if only so that I might have had appreciations earlier in the game.
People often say to me now that I have my home, my career, fame (if you call it that), there must be nothing left for me to live for. But there is everything left to live for. All the things I don't know about, all the things I want to know about.
Pictures, I've discovered, were practically all I did know about up to very recently. I've had to work so hard, to concentrate so closely, that I never have had time to read or to travel or to think about other things. I'm just at the beginning of living…”

Harold Lloyd (1893–1971) American film actor and producer

"Discoveries About Myself". Motion Picture, October 1930, pg. 58 & 90. (Brewster Publications). https://archive.org/stream/motionpicture1923040chic#page/n563/mode/2up https://archive.org/stream/motionpicture1923040chic#page/n595/mode/2up

Life, People, Travel, Home

“A picture without falls is as bad as Niagara in the same fix”

Buster Keaton (1895–1966) American actor and filmmaker

Interview in Picture-Play Magazine (December 1920) "Six Interviews with Buster Keaton" http://www.silentera.com/taylorology/issues/Taylor68.txt

“It must be remembered that after all in making a picture we are endeavoring to set down on one plane various objects in such a way as to suggest an infinitude of varying planes, and hence we are justified in selecting such conditions of nature as shall help us to give the impression of truthfulness, even though it be not in particular cases absolutely true to fact.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 46

Truth, Way, Nature, Help

“You use things; the idea is, of course, to eliminate things [in making a picture]. And just as fifteen or eighteen years ago [when Guston made whole figurative series of children's pictures: 'all sort of props and so on'] I stretched out to get that, - put it in and took it out - to get that look in that's kid's eye and the way his mouth was open or wasn't - I mean a very particular kind of look - I'd do the same now. In other words, I can't find any freedom in abstract painting [but Guston did abstract painting in 1960 - till in 1967 he moved to figuration]. I'am just as stuck with locations, a few areas of colour in relation to some kind of totality that I want, as I was before. And so the problem of figuration is somehow irrelevant to me. I think some of the best painting done in New York today is figuration, but it's not recognised as such... Well I think of my pictures as a kind of figuration... I think every good painter here in New York really paints a self-portrait..”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 92-93

Children, Way, Idea, Problem

“Sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence. Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art.”

Albrecht Dürer (1471–1528) German painter, printmaker, mathematician, and theorist

The Art of Measurement (1525).

Art, Error, Knowledge

“When it comes to the traits we consider most important in a long-term mate, human beings are largely monomorphic. This is one of the most significant findings of these studies; however, it is easily overlooked when the discussion becomes fixated on traits that people consider less important but where sex differences are found. By shining a spotlight on these traits, we may create an inaccurate picture of our species, even though the differences are real. Our picture of human nature may be built on a foundation of exceptions to the rule. The rule — the fact that males and females in our species are surprisingly similar in many ways — may be relegated to the background. By taking genuine differences and then exaggerating their importance, our picture of our evolved nature may become a caricature: It may contain a recognizable grain of truth but distort its object.”

Steve Stewart-Williams (1971)

Source: The Ape that Kicked the Hornet's Nest (2013), p. 267

People, Truth, Sex, Way

“I've always been told that I was a painter's painter... What does that mean?... That painters like my painting and the big wide world overlooks it, I suppose?... Well, I know... To me, it would have meant that - this is pre this new rage in buying and selling paintings - that, I think, that the formal values, like light, space, color, all those things that a painting is made up of, as well as the Jacob going up the ladder or Venus on the half shell or something [chuckles] would be what interested the painter. And perhaps the public would want the picture of the Christ child, so to speak. You know what I mean.”

Joan Mitchell (1925–1992) American painter

Tape number two, side A
1975 - 1992, Oral history interview with Joan Mitchell, 1986

World, Color, Thinking, Light

“I want to take as the canvas for my next picture the entire surface of France. This picture will be called 'The Blue Revolution'. It isn’t the fact of my taking power in France that interests me, but rather the possibility of creating a monochrome picture in my new manner: ‘The Refinement of Sensibility’.”

Yves Klein (1928–1962) French artist

In 1958; p. 43
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

“I was looking at my furniture, not as the utilitarian who has to sit on chairs, to write at desks and tables, and not as the cameraman or scientific recorder, but as the pure aesthete whose concern is only with forms and their relationships within the field of vision or the picture space. But as I looked, this purely aesthetic, Cubist's-eye view gave place to what I can only describe as the sacramental vision of reality. I was back where I had been when I was looking at the flowers—back in a world where everything shone with the Inner Light, and was infinite in its significance.”

Aldous Huxley book The Doors of Perception

describing his experiment with mescaline, p. 22
The Doors of Perception (1954)

World, Flowers, Reality, Light

“When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned…but that's the point.”

Ralph Bakshi (1938) Animator, filmmaker

[c. 17 September 2004, http://www.wild-things.com/bray/documents/ralphb.doc, Questions for Ralph Bakshi, DOC, Ralph Bakshi Forum, 2007-11-27]

Love, World, Fashion, Understanding

“The surfaces of three-dimensional space are distinguished from each other not only by their curvature but also by certain more general properties. A spherical surface, for instance, differs from a plane not only by its roundness but also by its finiteness. Finiteness is a holistic property. The sphere as a whole has a character different from that of a plane. A spherical surface made from rubber, such as a balloon, can be twisted so that its geometry changes…. but it cannot be distorted in such a way as that it will cover a plane. All surfaces obtained by distortion of the rubber sphere possess the same holistic properties; they are closed and finite. The plane as a whole has the property of being open; its straight lines are not closed. This feature is mathematically expressed as follows. Every surface can be mapped upon another one by the coordination of each point of one surface to a point of the other surface, as illustrated by the projection of a shadow picture by light rays. For surfaces with the same holistic properties it is possible to carry through this transformation uniquely and continuously in all points. Uniquely means: one and only one point of one surface corresponds to a given point of the other surface, and vice versa. Continuously means: neighborhood relations in infinitesimal domains are preserved; no tearing of the surface or shifting of relative positions of points occur at any place. For surfaces with different holistic properties, such a transformation can be carried through locally, but there is no single transformation for the whole surface.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

Way, Mathematics, Tear, Light

“I hung Baziote's [painting] show with him at Peggy's in 1944. After it was up and we had stood in silence looking at it for a while, I noticed he had turned white... Suddenly he [Baziotes] looked at me and said: 'You're the one I trust; if you tell me the show is no good, I'll take it right down and cancel it.'.... you see, at the opposite side of the coin of the abstract expressionist's ambition and of out not giving a damn, was also not knowing whether our pictures were even pictures, let alone whether they were any good…”

Robert Motherwell (1915–1991) American artist

William Baziotes – paintings and drawings, curated by Michael Preble, Peggy Guggenheim Collection, Venice, 2004, p. 181
after 1970

Silence, Painting

“if a shower of electrons is shot on to a zinc sulfide screen, a number of flashes are produced - one for each electron - and we may picture the electrons as bullet-like projectiles hitting a target. But if the same shower is made to pass near a suspended magnet, this is found to be deflected as the electrons go by. The electrons may now be pictured as octopus-like structures with tentacles or 'tubes of force' sticking out from it in every direction.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

“The relational picture of space and time has implications that are as radical as those of natural selection, not only for science but for our perspective on who we are and how we came to exist in this evolving universe of relations.”

Lee Smolin book Three Roads to Quantum Gravity

Three Roads to Quantum Gravity (2000)

Nature, Universe, Science, Time

“There is something ridiculous and miserly in the myth we inherit from abstract art: That painting is autonomous, pure and for itself, and therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities', which forces painting’s continuity. We are image-makers and image-ridden. There are no 'wiggly or straight lines' or any other elements. You work until you vanish. The picture isn’t finished if they are seen.”

Phillip Guston (1913–1980) American artist

transcript of the panel, March 1960, held at the Philadelphia Museum School of Art, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p.61
1950 - 1960

Art, Painting

“The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.”

Wassily Kandinsky (1866–1944) Russian painter

VI. The language of Form and Colour
1910 - 1915, Concerning the Spiritual in Art, 1911

Art, Confidence, Question, Problem

“What we kids didn't understand was that we were living in a commercial, commodity culture. Everything in our environment had been bought and sold. As middle class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.”

Robert Crumb (1943) American cartoonist

The R. Crumb Handbook by Robert Crumb and Peter Poplaski (2005), p. 56

World, Understanding, Parting

“One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.... Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.”

Asger Jorn (1914–1973) Danish artist

Quote in Jorn's letter, 1952; as cited on the website of the Jorn Museum 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, his critical comment on the art teachings of Fernand Léger, which Jorn started to follow circa 1936, in Paris. 1949 - 1958, Various sources

Love, Art, Color, Painting

“George Romero filmed an homage to the book, and he called it Night of the Living Dead. Homage means I can make the picture and I don't have to pay you for your book. As a teen-ager I saw the movie "Dracula," and it occurred to me that if one vampire was scary, a whole world populated by vampires would be really scary.”

Richard Matheson (1926–2013) American fiction writer

On his novel I Am Legend, and the inspiration for it.
The New York Times interview (1994)

Books, World, Night, Dead

“I'm always trying to understand myself, but it's like there's a point in the centre of the room, and there's a hundred windows to look at the same point from. All I can do is give you different angles on the same thing. God, you know, if I could find one conclusive thing in anything I would probably have something to put an anchor down on. But I can't, and I haven't met anyone that can. You can pick out anything you like in my lyrics, I don't seek to be cryptic. I love words for the sake of words, for me they're kind of free standing, and they don't really need to be explained. I think every word has its own character and colour and picture and the result you get with lyrics just depends how you put them together.”

KatieJane Garside (1968) English singer

On writing, Repeat https://web.archive.org/web/20031101121528/https://www.repeatfanzine.co.uk/interviews/queen%20adreena.htm fanzine (2003)

Love, God, Understanding, Thinking

“Success for a woman means absolute surrender, in whatever direction. Whether she paints a picture, or loves a man, there is no division of labor possible in her economy. To the attainment of any end worth living for, a symmetrical sacrifice of her nature is compulsory upon her.”

Elizabeth Stuart Phelps (1844–1911) American author, intellectual and feminist

The Study of Avis (1877)

Love, Nature, Success, Painting

“As the pattern of events is unaltered by motion, the mechanism must be the same when the electron is in motion as when it is at rest. But experiment shows that an electron in motion exerts additional forces which are not the same for all directions in space; if we picture this electron as moving head-foremost through space, these forces surround it like a belt around its waist.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

“One world and then another, running like a chain. One world treading on the heels of another world that plodded just ahead. One world’s tomorrow, another world’s today. And yesterday is tomorrow, and tomorrow is the past.
Except, there wasn’t any past. No past, that was, except the figment of remembrance that flitted like a night-winged thing in the shadow of one’s mind. No past that one could reach. No pictures painted on the wall of time. No film that one could run backwards and see what-once-had-been…
One road was open, but another road was closed. Not closed, of course, for it had never been. For there wasn’t any past, there never had been any, there wasn’t room for one. Where there should have been a past there was another world.”

Clifford D. Simak book City

Source: City (1952), Chapter 7, “Aesop” (pp. 195-196)

World, Time, Past, Painting

“You haven't time to think about the composition. In working directly from nature, the painter ends up by simply aiming at an effect, and not composing the picture at all; and he soon becomes monotonous.”

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

(before 1880) As quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 176
undated quotes, Renoir – his life and work, 1975

Nature, Thinking, Time

“Older children always sit down to paint or write after they have seen a picture or read a story that appeals to them, and attempt to create. So life ought to be a struggle of desire towards adventures whose nobility will fertilise the soul and lead to the conception of new, glorious things. To avoid the ordeal of emotion that leads to the conception is the impulse of death. Sterility is the deadly sin. Today so many of our activities are sterile. Our upper classes are impotent by reason of their soft living. Our lower classes have had their vitality sweated out of them by their filthy labours: they can only bear dead things.”

Rebecca West (1892–1983) British feminist and author

"The Gospel According to Granville-Parker", in The Freewoman (7 March 1912); re-published in The Young Rebecca: Writings of Rebecca West, 1911-17 (1982), p. 21

Life, Death, Children, Soul

“We may now picture this great Fleet, with its flotillas and cruisers, steaming slowly out of Portland Harbour, squadron by squadron, scores of gigantic castles of steel wending their way across the misty, shining sea, like giants bowed in anxious thought. We may picture them again as darkness fell, eighteen miles of warships running at high speed and in absolute blackness through the narrow Straits, bearing with them into the broad waters of the North the safeguard of considerable affairs…. The king’s ships were at sea.”

Winston S. Churchill book The World Crisis

The World Crisis, 1911–1914 : Chapter IX (The Crisis), Churchill, Butterworth (1923), pp. 212-213.
Early career years (1898–1929)

Way, Water, Speed, Sea

“At the present we have no adequate scientific method for representing the psychological life span. In accord with the general methods of psychology, the study of environmental influences began with classification and statistics… they gave us excellent descriptions of the home environment. The method of representation is partly akin to that of the novelist i. e., one trying to make as lifelike picture of the situation as possible by choosing expressive words and bringing out significant traits with examples. In general, the descriptions that have been made valuable to science have not been those made by scientific methods. Where theoretical concepts have been introduced with the concrete description, they often stand out as something alien. In stead of scientific descriptions they are nothing more than speculative interpretation.”

Kurt Lewin (1890–1947) German-American psychologist

Source: 1930s, Principles of topological psychology, 1936, p. 12-13.

Life, Home, Study, Science

“It is a question of the systematic and interpretive organization of the sensational, scattered and narcissist surrealist experimental material, - that is to say, of everyday surrealist events:, br>nocturnal pollution, false recollection, dream, diurnal fantasy, the concrete transformation of nocturnal phosphene into a hypnagogic image or of "waking phosphene" into an objective image, - the nutritive caprice, - inter-uterine claims, - anamorphic hysteria, - the voluntary retention of the urine, - the involuntary retention of insomnia - the fortuitous image of exclusively exhibitionist tendency, -the incomplete action, - the frantic manner, - the regional sneeze, the anal wheelbarrow, the minimal mistake, the liliputian malaise, the super-normal physiological state, - the picture one leaves off painting, that which one paints, the territorial ringing of the telephone, "the deranging image", etc., etc.,
all these things, I say, and a thousand other instantaneous or successive sollicitations, revealing a minimum of irrational intentionalety or, on the contrary, a minimum of suspect phenomenal nullity, are associated, by the mechanisms of paranoiac-critical activity, in an indestructible delirious-interpretive system of political problems, paralytic images, more or less mammiferous questions, playing the role of the obsessing idea.”

Salvador Dalí (1904–1989) Spanish artist

Source: Quotes of Salvador Dali, 1931 - 1940, My Pictorial Struggle', S. Dali, 1935, Chapter: 'My Pictorial Struggle', pp. 15-16

Dreams, Idea, Question, Problem

“Feeling that the world is wrong does not necessarily mean that we have a picture of a utopia to put in its place. Nor does is necessarily mean a romantic, some-day-my-prince-will-come idea that, although things are wrong now, one day we shall come to a true world, a promised land, a happy ending. We need no promise of a happy ending to justify our rejection of a world we feel to be wrong.”

John Holloway book Change the World Without Taking Power

Change the World Without Taking Power (2002)

World, Feeling, Idea, Happiness

“If I dared, I should say that your [ Camille Pissarro ] letter is imprinted with sadness. The picture business isn't going well; I fear that your morale may be colored a little grey, but I'm sure that it's only a passing phase… I imagine that you would be delighted with the country where I am now…. in ', who had talked to me about it. It's like a playing card. Red roofs against the blue sea. If the weather turns favorable perhaps I'll be able to finish them off.”

Paul Cézanne (1839–1906) French painter

Quote from Cezanne's letter to Camille Pissarro, from L'Estaque 2 July 1876, taken from Alex Danchev, The Letters of Paul Cézanne, 2013; as quoted in the 'Daily Beast' online, 13 Oct. 2013 https://www.thedailybeast.com/cezannes-letter-to-pissarro-picture-business-isnt-going-well Quotes of Paul Cezanne, 1860s - 1870s

Sadness, Fear, Color, Imagination

“One of the biggest box-office successes in movie history — probably because for young audiences it's like getting a box of Cracker Jack that is all prizes. Written and directed by George Lucas, the film is enjoyable in its own terms, but it's exhausting, too: like taking a pack of kids to the circus. There's no breather in the picture, no lyricism; the only attempt at beauty is in the image of a double sunset. The loudness, the smash-and-grab editing, and the relentless pacing drive every idea out of your head, and even if you've been entertained, you may feel cheated of some dimension — a sense of wonder, perhaps. It's an epic without a dream.”

Pauline Kael (1919–2001) American film critic

"Star Wars," p. 714.
5001 Nights at the Movies (1982)

Beauty, Dreams, Feeling, History

“What is my love? That I amalgamate the bad features of a woman into a good picture. And my hatred? That I see the bad features in the picture of a bad man.”

Karl Kraus (1874–1936) Czech playwright and publicist

Half-Truths and One-And-A-Half Truths (1976)

Love

“My mom was a housewife, and wasn't somebody that people would think of as a feminist, and when Ms. magazine came out we were incredibly inspired by it. I used to cut pictures out of it and make posters that said "Girls can do anything", and stuff like that, and my mom was inspired to work at a basement of a church doing anti-domestic violence work. Then she took me to the Solidarity Day thing, and it was the first time I had ever been in a big crowd of women yelling, and it really made me want to do it forever.”

Kathleen Hanna (1968) American musician and feminist activist

BUST (2000).

Women, People, Girl, Moms

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

Women, People, Art, Way

“Our free eyes open now on new horizons and can see what yesterday, in our condition as colonial slaves, we could not observe: that “Western Civilization” disguises behind its showy facade a picture of hyenas and jackals … A carnivorous animal that feeds on unarmed peoples.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Address to the United Nations (1964)

People, Animals

“Clash was destined to be my last hero picture, and looking back, the decision to end my career at that point was absolutely right. With all the problems involved in production, and the knowledge that I was losing precious control of solo animation, I was forced to concede that it was time to stand aside for others and their new technology to take over.”

Ray Harryhausen (1920–2013) American animator

Source: An Animated Life (2003), pp. 280-2

Knowledge, Problem, Decision, Time

“I have tried to answer the question which sent me to Samoa: Are the disturbances which vex our adolescents due to the nature of adolescence itself or to the civilization? Under different conditions does adolescence present a different picture?”

Margaret Mead (1901–1978) American anthropologist

Source: 1920s, Coming of Age in Samoa (1928), p. 6-7

Question, Nature

“I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.”

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

Quote from Corot's 'Notebooks', ca. 1850, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 240-241
1850s

Color, Painting

“My [dear] Sir: Let me first offer my kind regards. I agree that I should come soon to see how the picture accords with the rest. As regards the price, I certainly deserve 200 pounds for it, but shall be content with whatever His Excellency pays me. And if you, Sir, do not deem it presumptuous, I shall not neglect to requite the favor. Your humble and devoted servant Rembrandt - It [the picture] will show to [the] best advantage in His Excellency's gallery, since there it will be [displayed] in bright light.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

Letter to Constantijn Huygens (Amsterdam, after Feb. 1636) http://remdoc.huygens.knaw.nl/#/document/remdoc/e4429 Rembrandt emphasizes here the urge for a place with bright light, necessary to view his painting well. Not certain is which painting by Rembrandt is meant here. 1630 - 1640

Light

“He was an actor of genius. There was no more overwhelming actor on the stage, in the motion pictures, nor even in the pulpit. He would whirl arms, bang tables, glare from mad eyes, vomit Biblical wrath from a gaping mouth; but he would also coo like a nursing mother, beseech like an aching lover, and in between tricks would coldly and almost contemptuously jab his crowds with figures and facts—figures and facts that were inescapable even when, as often happened, they were entirely incorrect.”

Sinclair Lewis book It Can't Happen Here

It Can't Happen Here (1935)

Lovers, Madness

“If any good comes out of the current famine in the Horn of Africa — amidst the pictures of mothers carrying dying babies at their shrivelled breasts and hollow-eyed children with swollen bellies and matchstick limbs — it will be galvanising the world on the need to ensure access to nutritious food for the world’s most vulnerable people.”

Josette Sheeran (1954) American diplomat

"Filling empty bellies is no longer enough" (20 September 2011) at UK Government Department for International Development web site http://blogs.dfid.gov.uk/2011/09/filling-empty-bellies-is-no-longer-enough/

Children, People, World, Food

“The most sensational surprise was the sudden discovery, one day, that my pictures, for the first time in history, had become walls. By means of what strange process had I arrived at such precise images? And why did they make me, their first viewer, quake with emotion?”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

1945 - 1970, A Report on the Wall' 1970

History, Time

“I picture several reviewers of my own books as passing a long future lodged between Brutus and Judas in the jaws of Satan.”

Stephen Jay Gould book An Urchin in the Storm

Preface, p. 9
An Urchin in the Storm (1987)

Books, Future

“The next picture is a Goliath with four arms, reading a book, lofting a 1000-pound dumbbell, aiming a pistol at a target, painting a picture. The enemy can do everything. "He's a giant, seven feet tall with four arms, each with two biceps. Each arm can, of course, be used simultaneously."”

Herman Kahn (1922–1983) American futurist

pg: 11-12
The Worlds of Herman Kahn: the intuitive science of thermonuclear war.

Books, Reading, Painting

“As the original Mary Poppins budget of five million dollars continued to grow, I never saw a sad face around the entire Studio. And this made me nervous. I knew the picture would have to gross 10 million dollars for us to break even. But still there was no negative head-shaking. No prophets of doom. Even Roy was happy. He didn't even ask me to show the unfinished picture to a banker. The horrible thought struck me — suppose the staff had finally conceded that I knew what I was doing.”

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

Statement of 1 October 1966, used in The Walt Disney Story (1973) https://waltdatedworld.com/id140.htm

Sadness, Happiness

“So how are you going to recognise God if He comes on earth? Are you going to ask to see His identity card or passport? See if it says, 'Name … God; Occupation … Generator, Operator, Destroyer'? That's foolish! Or are you going to recognise Him only if He fits your mental picture of Him -- what you have picked up from scriptures and other impressions, what you imagine Jesus or Krishna looked like? But even two Christians will have different impressions of what Jesus will look like. So what will be recognised by one will not be recognised by the other. But the test of the Perfect Master is that which is undeniable to everybody and that is the experience of Himself, which He can give, and that is the True Knowledge.”

Prem Rawat (1957) controversial spiritual leader

from "The Sayings of Guru Maharaj Ji" - Published by Shri Hans Publications, 148-150 Lordship Lane, London SE22, Copyright Divine Light Mission 1974.
1970s

God, Imagination, Knowledge, Perfection

“Ah this scene was of brief duration, but, though a simple and humble affair, it impressed me more than anything of the kind I ever witnessed. What a fine picture that would have made Mr. Lincoln landing from a ship-of-war's boat, an aged negro on his knees at his feet, and a dozen more trying to reach him to kiss the hem of his garments! In the foreground should be the shackles he had broken when he issued his proclamation giving liberty to the slave.”

David Dixon Porter (1813–1891) United States Navy admiral

Source: 1880s, Incidents and Anecdotes of the Civil War (1885), p. 296

War, Age, Kiss

“As a Doctor, I'm often asked: why can't we see more pictures of Albania?”

Eddie Mair (1965) Scottish broadcaster

From the PM Newsletter and Weblog
Source: PM newsletter. 28 Jan 08.

“There is no evidence that a majority of Israelis want a two-state formula. In fact, if we add up votes won by all parties implicitly or explicitly opposed to the two-state formula, we will have a whopping 75 per cent of Israelis. Thus what Netanyahu mastered enough courage to say aloud is what most Israelis think in silence. The picture is hardly different on the Palestinian side. To start with, the Palestinians are divided in at least three camps. In one camp we have Fatah and its allies who have never formally committed to a two-state formula but have dropped hints that they might accept such a solution as a first step toward liberating the rest of historic Palestine, that is to say, what is now Israel, later. The second camp is dominated by Hamas, which is committed to the destruction of Israel in no uncertain terms. However, Hamas does not want a Palestinian state either. As the Palestinian branch of the Muslim Brotherhood, Hamas is a pan-Islamist group dedicated to fighting for the creation of a global caliphate. In the third camp, there are more radical Palestinian groups, including the Islamic Jihad for the Liberation of Palestine, now the favored protégé of the Islamic Republic in Tehran. The IJLP leadership has repeatedly declared its support for a one-state formula sponsored by Iranian “Supreme Guide” Ali Khamenei.”

Amir Taheri (1942) Iranian journalist

Who wants a two-state solution, anyway? http://nypost.com/2015/03/20/who-wants-a-two-state-solution-anyway/, New York Post (March 20, 2015). New York Post

Courage, Support, Thinking, Silence

“Blue, round, miserable moon, full of magic, picture that draws like a magnet, pale-coloured, charmed jewel, made by sorcerers; swiftest of dreams, cold traitor, brother to the ice, most evil and unkind of servants, let hell consume the hateful, thin, bent-lipped mirror!”

Dafydd ap Gwilym (1320–1380) Welsh poet

Lleuad las gron gwmpas graen,
Llawn o hud, llun ehedfaen;
Hadlyd liw, hudol o dlws,
Hudolion a'i hadeilws;
Breuddwyd o'r modd ebrwydda',
Bradwr oer a brawd i'r ia.
Ffalstaf, gwir ddifwynaf gwas,
Fflam fo'r drych mingam meingas!
"Y Drych" (The Mirror), line 25; translation from Carl Lofmark Bards and Heroes (Felinfach: Llanerch, 1989) p. 96.

Hate, Dreams, Hell, Evil

“Every play which is produced—and for that matter, every book that is published, every picture which is exhibited, every film which is turned—is subjected to the Board of Censors… Romantic love in even its purest phases is not thought to be a fitting subject for consideration of citizens of a communist state;... the sex play is unknown in modern Russia… There remains as the ubiquitous theme for plays: revolution, with all the patriotic and nationalistic connotations which have grown up around it; heroism, sacrifice for the nation and class; consciousness of solidarity with one’s fellow proletarians; common suffering; great adventures with new ideas; great prospects for future machine age which is to be a sort of Russian-communist Americanism.”

Dorothy Thompson (1893–1961) American journalist and radio broadcaster

Source: "The New Russia" 1928, pp. 27-28

Love, Books, Age, Sex

“On those rare occasions when a great motion picture reaches multiplexes, the film critic must add another aspect to his or her job description: that of cheerleader. It is incumbent upon those of us who routinely dissect movies to applaud the arrival of something like Minority Report. 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.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/m/minority_report.html of Minority Report (2002). Four star reviews

Money, Intelligence, Lovers, Fashion

“Actually, one of the real problems that always bothers me [in creating a painting] is sustaining a feeling. I mean, when I look at Poussin now, well, I think that's the most incredible thing to maintain the feeling for a year, however long it took Poussin, I'm telling you, to paint this vast structure. Bur perhaps that is not given to us now. I don't know…. Actually all all modern art puzzles me. I don't understand it. II really don't. I don't know whether it is fragmentary [as David Sylvester the interviewer suggested]. I have a sickening nostalgia for this other state of sustaining a feeling for months, being able to construct and build a picture. Well Mondrian, I think, did that, of course. He was almost one of the last artists to do that. I wish I could get there.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 91-92

Art, Feeling, Understanding, Problem

“If these Mount Everests of the financial world are going to labor and bring forth still more pictures with people being blown to bits with bazookas and automatic assault rifles with no gory detail left unexploited, if they are going to encourage anxious, ambitious actors, directors, writers and producers to continue their assault on the English language by reducing the vocabularies of their characters to half a dozen words, with one colorful but overused Anglo-Saxon verb and one unbeautiful Anglo-Saxon noun covering just about every situation, then I would like to suggest that they stop and think about this: making millions is not the whole ball game, fellows. Pride of workmanship is worth more. Artistry is worth more.”

Gregory Peck (1916–2003) American actor

Acceptance speech on receiving the American Film Institute's Life Achievement Award in 1989, as quoted in "Gregory Peck, a Star of Quiet Dignity, Dies at 87" by William Grimes in The New York Times (13 June 2003)

People, World, Color, Game

“The refined simplicity should develop out of the complex. […] It would have been more logical if silent pictures had grown out of the talkie instead of the other way around.”

Mary Pickford (1892–1979) Canadian-American actress

Attributed (1934) in Eileen Whitfield, Pickford: The Woman Who Made Hollywood (1997), p. 269–270

Way

“When theoretical physicists censor the public's spontaneous visualizing response by warning us we must not try to picture the underlying nature of the world, whether atoms or quarks or preons, they are drawing upon an intellectual discipline devised by Calvin. Reality is beyond the senses; only the rigorously logical mind, leaping bravely into the intangible, can grasp it. No images.”

Theodore Roszak (1933–2011) American social historian, social critic, writer

Source: The Gendered Atom: Reflections on the Sexual Psychology of Science (1999), Ch.10 The Black Madonna

World, Nature, Reality, Sense

“The new coherent picture is not yet available. With all their immense empirical success, G(eneral)R(elativity) and Q(uantum)M(echanics) have left us with an understanding of the physical world which is unclear and badly fragmented. At the foundations of physics there is today confusion and incoherence.”

Carlo Rovelli Quantum gravity

Source: Quantum gravity (2004), p. 4

World, Understanding, Success

“O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again.”

Mary Cassatt (1844–1926) American painter and printmaker

quoted by Nancy Mowll Mathews, in Mary Cassatt: A Life, Villard Books, New York, 1994, p. 76 - ISBN 978-0-394-58497-3
Quote, c. 1871 - shortly after the archbishop of Pittsburgh commissioned Mary Cassatt to paint two copies of paintings by Correggio in Parma, Italy

Water

“Here I have been able to make some good spring studies in oils, and managed to finish my 'Cow-girl' and my 'seared Woman', and my 'London Park', Primrose Hill. I think these pictures have improved a great deal from the point of view of unity. How different from the studies! I am more than ever in favour of taking one's impression from memory; it is less the actual thing - vulgarity disappears, leaving only an aura of truth glimpsed, sensed. To think that this is not understood, so that my anxiety for the future continues as before, despite the success of the exhibition.”

Camille Pissarro (1830–1903) French painter

I have no news from Paris about my collectors.
Quote in a letter to his son Lucien, 26 April 1892, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 144
1890's

Truth, Girl, Spring, Thinking

“…I simply don’t want the poems mixed up with my life or opinions or picture or any other regrettable concomitants. I look like a bear and live in a cave; but you should worry.”

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

of not wanting to write a preface for his first volume of verse, The Rage for the Lost Penny (1940); “A Note on Poetry”, p. 47
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life

“The elements I need to write are a place, a desk, a familiar room. I need some of my books there, I need quiet. … I'm picturing as I'm writing. I'm putting together what I need to have this thing alive.”

Mark Strand (1934–2014) Canadian-American poet, essayist, translator

Paris Review Interview (1998)

Books

Quotes about picture page 9

Quotes about picture
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