Quotes about plaster

A collection of quotes on the topic of plaster, likeness, time, timing.

Quotes about plaster

Stefan Zweig photo

“You're going to tell me that poverty's nothing to be ashamed of. It's not true, though. If you can't hide it, then it is something to be ashamed of. There's nothing you can do, you're ashamed just the same, the way you're ashamed when you leave a spot on somebody's table. No matter if it's deserved or not, honorable or not, poverty stinks. Yes, stinks, stinks like a ground-floor room off an airshaft, or clothes that need changing. You smell it yourself, as though you were made of sewage. It can't be wiped away. It doesn't help to put on a new hat, any more than rinsing your mouth helps when you're belching your guts out. It's around you and on you and everyone who brushes up against you or looks at you knows it. I know the way women look down on you when you're down at heels. I know it's embarrassing for other people, but the hell with that, it's a lot more embarrassing when it's you. You can't get out of it, you can't get past it, the best thing to do is get plastered, and here" (he reached for his glass and drained it in a deliberately uncouth gulp) "here's the great social problem, here's why the 'lower classes' indulge in alcohol so much more - that problem that countesses and matrons in women's groups rack their brains over at tea. For those few minutes, those few hours, you forget you're an affront to other and to yourself. It's no great distinction to be seen in the company of someone dressed lie this, I know, but it's no fun for me either.”

The Post Office Girl (published posthumously in 1982)

Alan Watts photo
Marlene Dietrich photo
Jodi Picoult photo
P.G. Wodehouse photo
Laurell K. Hamilton photo
Cassandra Clare photo
Éamon de Valera photo

“Partition is after all only an old fortress of crumbled masonry — held together with the plaster of fiction.”

Éamon de Valera (1882–1975) 3rd President of Ireland

(January 1918).
I'm Glad You Asked Me That (2007)

Ossip Zadkine photo
Kurt Schwitters photo
Hans Arp photo
Lewis Mumford photo
Paul Cézanne photo
Bel Kaufmanová photo
Colin Wilson photo
William Ellery Channing photo
George Hendrik Breitner photo

“What I consider to do with the new course [at The Academy of Art in The Hague] is: in the morning doing large plaster and in the afternoon painting or drawing after Nature, what I am doing already for some time, and [drawing] horses in the Municipal Horse Riding School. The Director is Sir Krüger, a very charming German who has seen of course many horses and so he knows how to show me the mistakes I make, which are not few.”

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

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Wat ik mij voorstel met de nieuwe cursus te doen is: 's morgens grootpleister en 's middags schilderen of naar de natuur teekenen. waarmede ik reeds eenige tijd bezig ben. en paarden in de Stadsrijschool. De Dir. daarvan is den Heer Krüger een alleraardigste duitscher, die nat. veel paarden gezien heeft en me dus de fouten weet te zeggen, die ik maak en die niet weinige zijn.
early quote of Breitner in his letter to his Maecenas A.P. van Stolk, 11 April 1878; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/585
before 1890

Richard Henry Dana Jr. photo
Caterina Davinio photo

“And I go down the stairs again
with the screeching of my worn out
soul

P. G. tunes instruments
for his golden arm
alchemy in a metropolitan shell

The squeak of time was
thrown back into the cracks
where the plaster has the form of a twisting branch

and my veins are sturdy trunks,
scaly, for drops of green sap
nourishment rising
from the bowels of the earth,
…”

Caterina Davinio (1957) Italian writer

The Book of Opium (1975 - 1990), (Heroin) P. G.'s Basement
Source: Caterina Davinio, Il libro dell'oppio 1975 – 1990 (The Book of Opium 1975 – 1990), Puntoacapo Editrice, Novi Ligure 2012. English translation by Caterina Davinio and David W. Seaman.

Rudyard Kipling photo
John Gibson Lockhart photo
Mustafa Kemal Atatürk photo
Gene Tunney photo
Gore Vidal photo
Antonio Gramsci photo

“It is all a matter of comparing one’s own life with something worse and consoling oneself with the relativity of human fortunes. When I was eight or nine I had an experience which came clearly to mind when I read your advice. I used to know a family in a little village near mine: father, mother and sons: they were small landowners and had an inn. Very energetic people, especially the woman. I knew (I had heard) that besides the sons we knew, this woman had another son nobody had seen, who was spoken of in whispers, as if he were a great disgrace for the mother, an idiot, a monster or worse. I remember that my mother referred to this woman often as a martyr, who made great sacrifices for this son, and put up with great sorrows. One Sunday morning about ten, I was sent to this woman’s: I had to deliver some crocheting and get the money. I found her shutting the door, dressed up to go out to mass, she had a hamper under her arm. On seeing me she hesitated then decided. She told me to accompany her to a certain place, and that she would take delivery and give me the money on our return. She took me out of the village, into an orchard filled with rubbish and plaster; in one corner there was a sort of pig sty, about four feet high, and windowless, with only a strong door. She opened the door and I could hear an animal-like howling. Inside was her son, a robust boy of 18, who couldn’t stand up and hence scraped along on his seat to the door, as far as he was permitted to move by a chain linked to his waist and attached to the ring in the wall. He was covered with filth, and his eyes shone red, like those of a nocturnal animal. His mother dumped the contents of her basket – a mixed mess of household leftovers – into a stone trough. She filled another trough with water, and we left. I said nothing to my mother about what I had seen, so great an impression it had made on me, and so convinced was I that nobody would believe me. Nor when I later heard of the misery which had befallen that poor mother, did I interrupt to talk of the misery of the poor human wreck who had such a mother.”

Antonio Gramsci (1891–1937) Italian writer, politician, theorist, sociologist and linguist

Gramsci, 1965, p. 737 cited in Davidson, 1977, p. 35.

William F. Buckley Jr. photo

“Now listen, you queer, stop calling me a crypto-Nazi, or I'll nail you in the goddamn face and you'll stay plastered.”

William F. Buckley Jr. (1925–2008) American conservative author and commentator

Responding to Gore Vidal's baiting language during debate over the 1968 Democratic National Committee riots on ABC News - YouTube video http://www.youtube.com/watch?v=nYymnxoQnf8&t=50s

Gautama Buddha photo
Assata Shakur photo
River Phoenix photo
Auguste Rodin photo

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Harry Greb photo
Elizabeth Bishop photo
Damien Hirst photo

“I was with this guy who was a plasterer, and at lunchtime he was eating a stuffed heart… I was thinking, "I'm not like these guys. I'm an artist." And I saw a bee come over to some flowers and get all the pollen out. I was looking and thinking, "How does it do that?" And then the guy who was eating the stuffed heart said, "How does that bee do that?"”

Damien Hirst (1965) artist

Beckett, Andy. "Arts: A Strange Case" http://findarticles.com/p/articles/mi_qn4158/is_19951112/ai_n14017521/pg_5?tag=artBody;col1, The Independent, 12 November 1995
Talking about when he worked as a builder after college

Berenice Abbott photo
Thomas Gainsborough photo

“It is my strict charge that after my decease no plaster cast, model, or likeness whatever be permitted to be taken.”

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

'Tho. Gainsborough'.
In a note of 15 June, 1788; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 305
1770 - 1788

Chris Carrabba photo
John McCain photo

“At least I don't plaster on the makeup like a trollop, you cunt.”

John McCain (1936–2018) politician from the United States

Taken from The Real McCain by Cliff Schecter, referring to his wife, Cindy McCain. Overheard by three anonymous reporters during his 1992 senate bid. http://rawstory.com/news/2008/McCain_temper_boiled_over_in_92_0407.html
Disputed

Ossip Zadkine photo
Robinson Jeffers photo
Henry Adams photo

“We have a patient. We put him in a plaster cast.”

Papadopoulos (1968:171), cited in: Emmi Mikedakis " Manipulating Language- Metaphors in the Political Discourse of Georgios Papadopoulos (1967-1973) http://dspace.flinders.edu.au/jspui/bitstream/2328/25577/1/Emmi%20Mikedakis%20.pdf]." In: E. Close, M. Tsianikas and G. Frazis (Eds.) Greek Research in Australia- Proceedings of the [3rd] Annual Conference of Greek Studies, Flinders University, 23-24 June 2000. Flinders University Department of Languages – Modern Greek- Adelaide, p. 76-86
With the patient Papadopoulos was referring to Greece
Context: We have a patient. We put him in a plaster cast. We try to see whether he could walk without the cast. We break open the first cast, and we eventually put the new one on, where it is needed. […] Let us pray that he will not need a plaster cast again. If he needs it, then we shall put it on him. And the only thing that I can promise you, is to invite you also to see the leg without a plaster cast!

Neal Stephenson photo