Quotes about renaissance
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Jackson Pollock photo

“My work with Benton was important as something against which to react very strongly, later on; in this, it was better to have worked with him than with a less resistant personality who would have provided a much less strong opposition. At the same time Benton introduced me to Renaissance art.”

Jackson Pollock (1912–1956) American artist

remark on his former art-teacher w:Thomas Hart Benton
As quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 137
1940's, Art and Architecture (1944)

Theo van Doesburg photo
Marshall McLuhan photo

“The “interface” of the Renaissance was the meeting of medieval pluralism and modern homogeneity and mechanism – a formula for blitz and metamorphosis.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 161

David C. McClelland photo

“From the top of the campanile, or Giotto's bell tower, in Florence, one can look out over the city in all directions, past the stone banking houses where the rich Medici lived, past the art galleries they patronized, past the magnificent cathedral and churches their money helped to build, and on to the Tuscan vineyards where the contadino works the soil as hard and efficiently as he probably ever did. The city below is busy with life. The university halls, the shops, the restaurants are crowded. The sound of Vespas, the "wasps" of the machine age, fills the air, but Florence is not today what it once was, the center in the 15th century of a great civilization, one of the most extraordinary the world has ever known. Why? ­­What produced the Renaissance in Italy, of which Florence was the center? How did it happen that such a small population base could produce, in the short span of a few generations, great historical figures first in commerce and literature, then in architecture, sculpture and painting, and finally in science and music? Why subsequently did Northern Italy decline in importance both commercially and artistically until at the present time it is not particularly distinguished as compared with many other regions of the world? Certainly the people appear to be working as hard and energetically as ever. Was it just luck or a peculiar combination of circumstances? Historians have been fascinated by such questions ever since they began writing history, because the rise and fall of Florence or the whole of Northern Italy is by no means an isolated phenomenon.”

David C. McClelland (1917–1998) American psychological theorist

Source: The Archiving Society, 1961, p. 1; lead paragraph, about the problem

Tony Buzan photo
Marshall McLuhan photo

“Applied knowledge in the Renaissance had to take the form of translation of the auditory into visual terms, of the plastic into retinal form.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 180

Lyndall Urwick photo
Stanley A. McChrystal photo
Paul Cézanne photo

“Here you are, put this somewhere, on your work table. You must always have this before your eyes... It's a new order of painting. Our Renaissance starts here... There's a pictorial truth in things. This rose and this white lead us to it by a path hitherto unknown to our sensibility..”

Paul Cézanne (1839–1906) French painter

Cezanne is referring in this quote to a photo of the painting 'Olypmpia', painted by Manet
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 71, in: 'What I know or have seen of his life'

Viktor Schauberger photo

“Implosion is no invention in the conventional sense, but rather the renaissance of ancient knowledge, lost over the course of time.”

Viktor Schauberger (1885–1958) austrian philosopher and inventor

Implosion Magazine, No. 83, p. 16 (Callum Coats: Energy Evolution (2000))
Implosion Magazine

Pricasso photo

“With his silver shorts and peroxided feather do, this Aussie was more Alex Jay in a low-budget sci-fi porno than rebel retiree with an interest in the Renaissance.”

Pricasso (1949) Australian painter

[Put an end to dangling conversations, Cape Argus, South Africa, 16 September 2008, 13, Independent Online]
About

Fred Astaire photo

“He is a truly complex fellow, not unlike the Michelangelos and da Vincis of the Renaissance period. He's a supreme artist but he is constantly filled with doubts and self-anger about his work--and that is what makes him so good. He is a perfectionist who is never sure he is attaining perfection.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Rouben Mamoulian, quoted in Satchell, Tim. Astaire, The Biography. Hutchinson, London. 1987. ISBN 0091737362. p. 200.

José Guilherme Merquior photo

“[A] number of points are worth making at once [that challenge Foucault’s Madness and Civilization]: (1) There is ample evidence of medieval cruelty towards the insane; (2) In the late Middle Ages and the Renaissance, the mad were already confined, to cells, jails or even cages; (3) ‘dialogue’ or no ‘dialogue’, even madness during those times was frequently connected with sin -- even in the Ship of Fools mythology; and, to that extent, it was regarded in a far less benevolent light than suggested by Foucault (pre-modern minds accepted the reality of madness -- ‘madness as a part of truth’ -- just as they accepted the reality of sin; but this does not mean they valued madness, any more than sin; (4) as Martin Schrenk (himself a severe critic Foucault) has shown, early modern madhouses developed from medieval hospitals and monasteries rather than as reopened leprosaria; (5) the Great Confinement was primarily aimed not at deviance but at poverty -- criminal poverty, crazy poverty or just plain poverty; the notion that it heralded (in the name of the rising bourgeoise) a moral segregation does not bear close scrutiny; (6) at any rate, as stressed by Klaus Doerner, another of critic of Foucault (Madmen and the Bourgeoisie, 1969), that there was no uniform state-controlled confinement: the English and German patterns, for example, strayed greatly from the Louis Quatorzian Grand Renfermement; (7) Foucault’s periodization seems to me amiss. By the late eighteenths century, confinement of the poor was generally deemed a failure; but it is then that confinement of the mad really went ahead, as so conclusively shown in statistics concerning England, France, and the United States; (8) Tuke and Pinel did not ‘invent’ mental illness. Rather, they owe much to prior therapies and often relied also on their methods; (9) moreover, in nineetenth-century England moral treatment was not that central in the medicalization of madness. Far from it: as shown by Andrew Scull, physicians saw Tukean moral therapy as a lay threat to their art, and strove to avoid it or adapt it to their own practice. Once more, Foucault’s epochal monoliths crumble before the contradictory wealth of the historical evidence.”

Source: Foucault (1985), pp. 28-29

Christopher Gérard photo
Jackson Pollock photo
Bob Black photo

“Under a system of permanent revelry, we will witness the Golden Age of the dilettante which will put the Renaissance to shame. There won't be any more jobs, just things to do and people to do them.”

The Abolition of Work (1985)
Context: What I really want to see is work turned into play. A first step is to discard the notions of a "job" and an "occupation." Even activities that already have some ludic content lose most of it by being reduced to jobs which certain people, and only those people, are forced to do to the exclusion of all else. Is it not odd that farm workers toil painfully in the fields while their airconditioned masters go home every weekend and putter about in their gardens? Under a system of permanent revelry, we will witness the Golden Age of the dilettante which will put the Renaissance to shame. There won't be any more jobs, just things to do and people to do them.

Eric R. Kandel photo
Walter Rauschenbusch photo

“We are to-day in the midst of a revolutionary epoch fully as thorough as that of the Renaissance and Reformation.”

Walter Rauschenbusch (1861–1918) United States Baptist theologian

Source: Christianity and the Social Crisis (1907), Ch.2 The Social Aims of Jesus, p. 45
Context: We are to-day in the midst of a revolutionary epoch fully as thorough as that of the Renaissance and Reformation. It is accompanied by a reinterpretation of nature and of history. The social movement has helped to create the modern study of history. Where we used to see a panorama of wars and strutting kings and court harlots, we now see the struggle of the people to wrest a living from nature and to shake off their oppressors. The new present has created a new past. The French Revolution was the birth of modern democracy, and also of the modern school of history.

Epifanio de los Santos photo
Erich Fromm photo

“What about the utopian thinkers of all ages, from the Prophets who had a vision of eternal peace, on through the Utopians of the Renaissance, etc.? Were they just dreamers? Or were they so deeply aware of new possibilities, of the changeability of social conditions, that they could visualize an entirely new form of social existence even though these new forms, as such, were not even potentially given in their own society?”

Erich Fromm (1900–1980) German social psychologist and psychoanalyst

Human Nature and Social Theory (1969)
Context: What about the utopian thinkers of all ages, from the Prophets who had a vision of eternal peace, on through the Utopians of the Renaissance, etc.? Were they just dreamers? Or were they so deeply aware of new possibilities, of the changeability of social conditions, that they could visualize an entirely new form of social existence even though these new forms, as such, were not even potentially given in their own society? It is true that Marx wrote a great deal against utopian socialism, and so the term has a bad odor for many Marxists. But he is polemical against certain socialist schools which were, indeed, inferior to his system because of their lack of realism. In fact, I would say the less realistic basis for a vision of the uncrippled man and of a free society there is, the more is Utopia the only legitimate form of expressing hope. But they are not trans-historical as, for instance, is the Christian idea of the Last Judgment, etc. They are historical, but the product of rational imagination, rooted in an experience of what man is capable of and in a clear insight into the transitory character of previous and existing society.

Baruch Spinoza photo
Helena Roerich photo
Newton Lee photo
Vyjayanthimala photo

“Vyjayanthimala Bali has been in the forefront of those responsible for the renaissance of Bharatanatyam for three or four decades.”

Vyjayanthimala (1936) Indian actress, politician & dancer

By N. Murali, Manaharatiya Janta Partyging Director, The Hindu in Vyjayanthimala Bali a copybook of Bharatanatyam, 8 December 2008, 12 January 2014, The Hindu http://www.hindu.com/2008/12/08/stories/2008120859050500.htm,

“Paul Cilliers was a remarkable Renaissance man and one of the most important academics and Afrikaner intellectuals that this country has produced. I had the privilege of knowing him for close on thirty years as friend, colleague and soul mate with a shared love of ideas, music, food, social interaction and a burning interest in complexity and complex systems.”

Paul Cilliers (1956–2011) South African philosopher

Jannie Hofmeyr cited in: Stellenbosch University mourns passing of top academic http://blogs.sun.ac.za/news/2011/08/01/stellenbosch-university-mourns-passing-of-top-academic/ at blogs.sun.ac.za, 2011/08/01

Herbert Read photo

“Renaissance art has always been my favourite subject. The realism involved in it is a challenge for me not only as an artist but also as a priest. Subjects involving human beings have always been my core area of interest.”

Nude figures, Mizo bishop's tribute to God https://timesofindia.indiatimes.com/city/guwahati/Nude-figures-Mizo-bishops-tribute-to-God/articleshow/4834560.cms?referral=PM (July 29, 2009)