Quotes about pink
page 2

Jean Metzinger photo
Letitia Elizabeth Landon photo
Maxine Waters photo

“Justice Antonin Scalia fundamentally changed the way the Supreme Court interpreted both statutes and the Constitution. In both contexts, his focus on text and its original public meaning often translated into more limited criminal prohibitions and broader constitutional protections for defendants. ‎As to statutes, Justice Scalia refocused the court’s attention on the text of the laws Congress enacted. Although he may not have succeeded in getting the court to forswear even looking at legislative history, he did persuade his colleagues to start — and very often end — the analysis with the text. In the criminal context, he limited terms like extortion and property to their common law core and found the residual clause of the Armed Career Criminal Act as unconstitutionally vague as “the phrase ‘fire-engine red, light pink, maroon, navy blue, or colors that otherwise involve shades of red.” When it came to interpreting the Constitution, he likewise put the text first and emphasized that the terms must be understood in light of their original public meaning. He believed that the words should be understood the way the framers used them. This did not mean that constitutional protections were frozen in time.”

In Scalia, criminal defendants have lost a great defender: Paul Clement https://www.usatoday.com/story/opinion/2016/02/19/scalia-funeral-constitution-defendants-jury-paul-clement-column/80575460/ (February 19, 2016)

Daniel De Leon photo
Charlie Brooker photo
John Milton photo
Philip Roth photo

“…her breasts swam towards me like two pink-nosed fish and she let me hold them.”

Source: Goodbye, Columbus (1959), Chapter 2

Edgar Degas photo

“Draw all kind of everyday object placed, in such a way that they have in them the life of the man or woman – corsets that have just been removed, for example, and which retain the form of the body. Do a series in aquatint on mourning, different blacks – black veils of deep mourning floating on the face – black gloves – mourning carriages, undertaker’s vehicles – carriages like Venetian gondolas. On smoke – smoker’s smoke, pipes, cigarettes, cigars – smoke from locomotives, from tall factory chimneys, from steam boats, etc. On evening – infinite variety of subjects in cafes, different tones of glass robes reflected in the mirrors. On bakery, bread. Series of baker's boys, seen in the cellar itself or through the basement windows from the street – backs the colour of the pink flour – beautiful curves of dough – still-life's of different breads, large, oval, long, round, etc. Studies in color of the yellows, pinks, grays, whites of bread…… Neither monuments nor houses have ever been done from below, close up as they appear when you walk down the street. [a working note in which Degas planned series of views of modern Paris, the same time when he sketched the backstreet brothels, making graphic unflinching and even his realistic 'pornographic' sketches he called his 'glimpses through the keyhole', in which he also experimented with perspectives]”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebooks; Clarendon Press, Oxford 1976, nos 30 & 34 circa 1877; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 182
quotes, undated

Roger Waters photo
Dave Matthews photo
Jayne Mansfield photo
Nicole Richie photo
André Breton photo
Lois McMaster Bujold photo
Letitia Elizabeth Landon photo
Algernon Charles Swinburne photo

“A baby's feet, like sea-shells pink
Might tempt, should heaven see meet,
An angel's lips to kiss, we think,
A baby's feet.”

Algernon Charles Swinburne (1837–1909) English poet, playwright, novelist, and critic

Étude Réaliste.
Undated

Max Ernst photo
Rupert Brooke photo

“And in my flower-beds, I think,
Smile the carnation and the pink.”

Rupert Brooke (1887–1915) British poet

"The Old Vicarage, Grantchester" (1912)

Quentin Crisp photo
George Hendrik Breitner photo

“Recently I dreamed of you [of the artist Herman van der Weele and his wife] and that you two were very rich and lived in a beautiful place and that I sat in your room with you and Herman, with beautiful fabrics and wallpapers that I couldn't stop looking to them and you wore black glasses, just like me now [to protect his eyes], but they [black glasses] were so amazingly beautiful and they suited you so well, as is only possible in a dream, and your dress was beautifully deep red blue black with exotic figures woven into it and the walls were yellow and pink. Anyway it was all a miracle of beauty and I wished that.... my eyes were healthy again and that we each could spent hundred thousand guilders a week, then we had built a beautiful yacht and we all sailed to the country of the Mikado [Japan], to have a look there.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch / citaat uit de brief van Breitner, in het Nederlands: Laatst heb ik van jelui [de kunstenaar Herman van der Weele en zijn vrouw] gedroomd en dat jelui heel rijk waren en prachtig woonden en dat ik met U en Herman in een vertrek daarvan zat, met zulke prachtige stoffen en behangen, dat ik mij niet kan verzadigen er naar te kijken en gij hadt een zwarte bril op net als ik nu, maar die was zo verbazend mooi en stond U zoo goed, als dat alleen maar in een droom mogelijk is en uw costuum was prachtig diep rood blauw zwart met exotische figuren daarin geweven en de wanden waren geel en rose, enfin het was een wonder van pracht en ik wou dat.. ..mijn oogen weer heel waren en dat we ieder honderdduizend gld in de week te verteren hadden, dan lieten we een mooi jacht bouwen en zeilden allemaal naar het land van den Mikado, om daar eens te kijken.
Quote of Breitner, in a letter to Herman van der Weele, c. 1892-96; as cited in Meisjes in kimono. Schilderijen, tekeningen en foto's van George Hendrik Breitner (1857-1923) en zijn Japanse tijdgenoten, J.H.G. Bergsma & H. Shimoyama; Hotei Publishing, Leiden 2001, pp. 15-16
1890 - 1900

Arun Shourie photo

“The press is a ready example of their efforts, and of the skills they have acquired in this field. They have taken care to steer their members and sympathizers into journalism. And within journalism, they have paid attention to even marginal niches. Consider books. A book by one of them has but to reach a paper, and suggestions of names of persons who would be specially suitable for reviewing it follow. As I mentioned, the editor who demurs, and is inclined to send the book to a person of a different hue is made to feel guilty, to feel that he is deliberately ensuring a biased, negative review. That selecting a person from their list may be ensuring a biased acclamation is talked out. The pressures of prevailing opinion are such, and editors so eager to evade avoidable trouble, that they swiftly select one of the recommended names…
You have only to scan the books pages of newspapers and magazines over the past fifty years to see what a decisive effect even this simple stratagem has had. Their persons were in vital positions in the publishing houses: and so their kind of books were the ones that got published. They then reviewed, and prescribed each other’s books. On the basis of these publications and reviews they were able to get each other positions in universities and the like…. Even positions in institutions which most of us would not even suspect exist were put to intense use. How many among us would know of an agency of government which determines bulk purchases of books for government and other libraries. But they do! So that if you scan the kinds of books this organization has been ordering over the years, you will find them to be almost exclusively the shades of red and pink….
So, their books are selected for publication. They review each other’s books. Reputations are thereby built. Posts are thereby garnered. A new generation of students is weaned wearing the same pair of spectacles – and that means yet another generation of persons in the media, yet another generation of civil servants, of teachers in universities….”

Arun Shourie (1941) Indian journalist and politician

Eminent Historians: Their Technology, Their Line, Their Fraud

Pricasso photo

“What had sounded like a great idea in the newsroom, ended up being the longest and most embarrassing moment of my life. Cameras clicked away and Pricasso kept rubbing his bum with colours of purple, pink and orange against my likeness.”

Pricasso (1949) Australian painter

[The Star staff, Pricasso's the name, painting the game, 28 September 2012, 3, The Star, South Africa, Independent Online]
About

Jack London photo
Kate Bush photo

“He's big and pink, and not like me.
He sees no light.
He sees no reason for the fighting…”

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

Song lyrics, The Dreaming (1982)

John Mayer photo
Margaret Mead photo
Roger Waters photo

“"Sheep" (paraphrasing Psalm 23) on Animals (Pink Floyd, 1977)”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd
Pierre-Auguste Renoir photo
Sarah Chang photo

“I like Lenny Kravitz, I like Pink, and for forever and ever I've thought that Whitney Houston has an amazing voice. I really love great voices.”

Sarah Chang (1980) violinist

NEWSWEEK 1999 http://www.jeremycaplan.com/SarahChangInterview.htm, Interview with Barnes & Noble.com June 2003 http://music.barnesandnoble.com/features/interview.asp?NID=706502&z=y

Bellamy Young photo
Salvador Dalí photo
Norman Tebbit photo
Rick Santorum photo

“You're not gonna use the pink ball. We're not gonna let you do that. Not on camera. Friends don't let friends use pink balls.”

Rick Santorum (1958) American politician

2012-03-29
Santorum: ‘Friends don't let friends use pink balls’
Think Progress
http://thinkprogress.org/lgbt/2012/03/29/454470/santorum-friends-dont-let-friends-use-pink-balls/
2012-04-15
to a boy using a pink bowling ball, at a campaign stop in Wisconsin

Stanley Holloway photo
Daniel Handler photo

“At this point in the dreadful story I am writing, I must interrupt for a moment and describe something that happened to a good friend of mine named Mr. Sirin. Mr. Sirin was a lepidoptrerist, a word which usually means "a person who studies butterflies." In this case, however, the word "lepidopterist" means "a man who was being pursued by angry government officials," and on the night I am telling you about they were right on his heels. Mr. Sirin looked back to see how close they were--four officers in their bright-pink uniforms, with small flashlights in their left hands and large nets in their right--and realized that in a moment they would catch up, and arrest him and his six favorite butterflies, which were frantically flapping alongside him. Mr. Sirin did not care much if he was captured--he had been in prison four and a half times over the course of his long and complicated life--but he cared very much about the butterflies. He realized that these six delicate insects would undoubtedly perish in bug prison, where poisonous spiders, stinging bees, and other criminals would rip them to shreds. So, as the secret police closed in, Mr. Sirin opened his mouth as wide as he could and swallowed all six butterflies whole, quickly placing them in the dark but safe confines of his empty stomach. It was not a pleasant feeling to have these six insects living inside him, but Mr. Sirin kept them there for three years, eating only the lightest foods served in prison so as not to crush the insects with a clump of broccoli or a baked potato. When his prison sentence was over, Mr. Sirin burped up the grateful butterflies and resumed his lepidoptery work in a community that was much more friendly to scientists and their specimens.”

Lemony Snicket
The Hostile Hospital (2001)

Frank Bruno photo
Nick Griffin photo
Roger Waters photo

“"Free Four" on Obscured by Clouds (Pink Floyd, 1972)”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd
Albert Gleizes photo
Ian McEwan photo
Pierre Monteux photo

“Told, during the days of segregation in the US, that he couldn't be served as he was trying to take breakfast at a restaurant "for colored folk", he insisted: "But we are colored, my dear. We are pink."”

Pierre Monteux (1875–1964) French conductor

From Monteux, Fifi (1962). Everyone is Someone. New York: Farrar, Straus & Cudahy. OCLC 602036672, pp. 13–15

Vincent Gallo photo

“I sure do like the color brown. And pink. Pink and brown. If I had to choose, pink would lose.”

Vincent Gallo (1961) American film director, writer, model, actor and musician

AOL Interview

Beck photo
Peter Greenaway photo
Robert Rauschenberg photo
Roger Waters photo

“I have nothing against Dave Gilmour furthering his own goals. It's just the idea of Dave's solo career masquerading as Pink Floyd that offends me!”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd

Penthouse Magazine, September, 1988
Music

Ernst Ludwig Kirchner photo

“There was such a wonderful setting of the moon this morning, the yellow moon against little pink clouds, and the mountains a pure deep blue [viewed from his Swiss farmhouse], quite glorious, I would so have liked to paint. But it was cold, even my window was frozen, although I had kept the fire in all night.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

In a letter from Frauenkirch, Jan. 1919; as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 48
Some time later Kirchner would made a colored wood-cut: 'Moonlit Winter Night' https://upload.wikimedia.org/wikipedia/commons/2/25/Kirchner_-_Wintermondnacht.jpg
1916 - 1919

Conrad Aiken photo
Roger Waters photo
Joni Mitchell photo

“They paved paradise
And put up a parking lot
With a pink hotel, a boutique
and a swinging hot spot.”

Joni Mitchell (1943) Canadian musician

"Big Yellow Taxi"
Songs

Leo Tolstoy photo
Roger Waters photo
Hayley Williams photo
Frances Bean Cobain photo

“My favorite color is light pink. I also like baby blue because it brings out my eyes.”

Frances Bean Cobain (1992) American artist

Attributed to a Teen Vogue interview
" Frances Bean Cobain: 'I'm a Different Person' http://www.people.com/people/article/0,,1101912,00.html" (2005)

Roger Waters photo

“"Sheep" on Animals (Pink Floyd, 1977)”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd
Robert Lynn Asprin photo
Georgia O'Keeffe photo

“Beyond are greens where pink chestnuts, may trees and copper beeches flaunt themselves gaily.”

Arthur Mee (1875–1943) British journalist and writer

Page 69, Harpenden.
The King's England: Hertfordshire

John Fletcher photo

“Hide, oh, hide those hills of snow
Which thy frozen bosom bears,
On whose tops the pinks that grow
Are of those that April wears!
But first set my poor heart free,
Bound in those icy chains by thee.”

John Fletcher (1579–1625) English Jacobean playwright

Act IV, scene i. Compare: "Take, O, take those lips away, That so sweetly were forsworn; And those eyes, the break of day, Lights that do mislead the morn: But my kisses bring again, bring again; Seals of love, but sealed in vain, sealed in vain", William Shakespeare, Measure for Measure.
Rollo, Duke of Normandy, or The Bloody Brother, (c. 1617; revised c. 1627–30; published 1639)

L. Ron Hubbard photo

“I'm drinking lots of rum and popping pinks and greys.”

L. Ron Hubbard (1911–1986) American science fiction author, philosopher, cult leader, and the founder of the Church of Scientology

Letter to his wife (1967) as quoted in L. Ron Hubbard: Messiah or Madman? (1989) by Bent Corydon and L. Ron Hubbard, Jr (Ronald DeWolfe).

Roger Waters photo

“"The Final Cut" on The Final Cut (Pink Floyd, 1983)”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd
Marsha Norman photo
Peter Weir photo
Umberto Boccioni photo

“How is it possible still to see the human face pink, now that our life, redoubled by noctambulism, has multiplied our perceptions as colourists? The human face is yellow, red, green, blue, violet.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 174
1910, Manifesto of Futurist Painters,' April 1910

Yevgeny Zamyatin photo

“The law of revolution is red, fiery, deadly; but this death means the birth of new life, a new star. And the law of entropy is cold, ice blue, like the icy interplanetary infinities. The flame turns from red to an even, warm pink, no longer deadly, but comfortable.”

Yevgeny Zamyatin (1884–1937) Russian author

On Literature, Revolution, Entropy and Other Matters (1923)
Context: The law of revolution is red, fiery, deadly; but this death means the birth of new life, a new star. And the law of entropy is cold, ice blue, like the icy interplanetary infinities. The flame turns from red to an even, warm pink, no longer deadly, but comfortable. The sun ages into a planet, convenient for highways, stores, beds, prostitutes, prisons: this is the law. And if the planet is to be kindled into youth again, it must be set on fire, it must be thrown off the smooth highway of evolution: this is the law.
The flame will cool tomorrow, or the day after tomorrow (in the Book of Genesis days are equal to years, ages). But someone must see this already today, and speak heretically today about tomorrow. Heretics are the only (bitter) remedy against the entropy of human thought.

John D. Barrow photo
Philip K. Dick photo

“He had weaved between them and among them as they came, a dancer leaping over glittering sword-points of pink fire. He had survived.”

Philip K. Dick (1928–1982) American author

The Golden Man (1954)
Context: The chamber was an inferno of energy. The figure had completely disappeared. Wisdom waited a moment, then nodded to the technicians operating the cube. They touched guide buttons and the muzzles slowed and died. Some sank back into the cube. All became silent. The works of the cube ceased humming.
Cris Johnson was still alive. He emerged from the settling clouds of ash, blackened and singed. But unhurt. He had avoided each beam. He had weaved between them and among them as they came, a dancer leaping over glittering sword-points of pink fire. He had survived.

Maxfield Parrish photo

“Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing.”

Maxfield Parrish (1870–1966) American painter and illustrator

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

Rick Wakeman photo
J. Howard Moore photo
Conrad Aiken photo

“One white rose... or is it pink, to-day?”

Conrad Aiken (1889–1973) American novelist and poet

They pause and smile, not caring what they say,
If only they may talk.
The crowd flows past them like dividing waters.
Dreaming they stand, dreaming they walk.
The House of Dust (1916 - 1917)

Richard Dawkins photo

“If life hands you a lemon adjust your rose colored glasses and start to selling pink lemonade.”

Anonymous, 1917, THE CONDUCTOR AND THE BRAKEMAN

Hendrik Willem Mesdag photo

“Dear Brother-in-Law - Sister. We are ailing again rather well through the winter, always busy and working. It is a pity that the opportunity for [making] new studies has not yet come, it is always a nice variation. Now it is every time again sea and pinks, etc. [subjects in his paintings].”

Hendrik Willem Mesdag (1831–1915) painter from the Northern Netherlands

For Paris I am very busy - To Vienna a painting will be send.. .A second large painting has gone to Brussels - A [xxxx?] will offer drawings of us [drawings of him and his wife] and , at this moment they are crossing the Great Water, with destination to New York where they will be exhibited - we hope with success - Two beautiful paintings has enriched our collection again, one of Dupre and one of Rousseau. (translation from original Dutch: Fons Heijnsbroek)

(original Dutch: citaat van Hendrik Willem Mesdag, in het Nederlands:) Waarde Zwager – Zuster. Wij sukkelen ook weder de winter goed door, altijd bezig en werkende. Jammer dat de gelegenheid tot nieuw studien [maken] nog niet is gekomen het is altijd een aardige afwisseling. Nu is het altijd zee en pinken enz. [de onderwerpen in zijn schilderijen] - Voor Parijs ben ik druk bezig - Naar Weenen gaat een schilderij.. .Naar Brussel is een tweede groote schilderij gegaan – Een [xxxx?] zal teekeninge van ons [van hem en vrouw Sientje] bieden, zijn op dit oogenblik op den wijden Oeveren met bestemming naar New York waar ze geexposeerd zullen worden – naar wij hopen met succes – Een paar prachtige schilderijen een van Dupre en een van nl:Théodore RousseauRousseau onze collectie weder verrijkt

In a letter from The Hague, 15 Feb 1882 to Brother-in-law and Sister (Hindrik van Houten and Alida Cornelia Christina van Houten ten Bruggencate) from the original text in Dutch R.K.D. Archive, The Hague https://rkd.nl/explore/excerpts/707073
after 1880