Quotes about visual

A collection of quotes on the topic of visual, use, other, likeness.

Quotes about visual

“To write is to forget. Literature is the most agreeable way of ignoring life. Music soothes, the visual arts exhilarates, the performing arts (such as acting and dance) entertain. Literature, however, retreats from life by turning in into slumber. The other arts make no such retreat— some because they use visible and hence vital formulas, others because they live from human life itself.
This isn't the case with literature. Literature simulates life. A novel is a story of what never was, a play is a novel without narration. A poem is the expression of ideas or feelings a language no one uses, because no one talks in verse.”

Fernando Pessoa book The Book of Disquiet

Source: The Book of Disquiet

Life, Art, Music, Way

“Death is not an event in life: we do not live to experience death. If we take eternity to mean not infinite temporal duration but timelessness, then eternal life belongs to those who live in the present. Our life has no end in just the way in which our visual field has no limits.”

Ludwig Wittgenstein (1889–1951) Austrian-British philosopher

6.4311
Der Tod ist kein Ereignis des Lebens. Den Tod erlebt man nicht. Wenn man unter Ewigkeit nicht unendliche Zeitdauer, sondern Unzeitlichkeit versteht, dann lebt der ewig, der in der Gegenwart lebt. Unser Leben ist ebenso endlos, wie unser Gesichtsfeld grenzenlos ist.
1920s, Tractatus Logico-Philosophicus (1922)
Variant: Death is not an event of life. Death is not lived through.
If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present.
Our life is endless in the way that our visual field is without limit.

Life, Death, Way

“I am a feminist. I reject wholeheartedly the way we are taught to perceive women. The beauty of women, how a woman should act or behave. Women are strong and fragile. Women are beautiful and ugly. We are soft-spoken and loud, all at once. There is something mind-controlling about the way we're taught to view women. My work, both visually and musically, is a rejection of all those things. And most importantly a quest.”

Lady Gaga (1986) American singer, songwriter, and actress

SHOWstudio Interview. In Camera with Lady Gaga 30 May 2010. http://www.youtube.com/watch?v=kmcxdZQCnT4&feature=PlayList&p=6DB0E6483F09B62E&playnext_from=PL&playnext=1.

Women, Beauty, Music, Way

“For me nature is not a landscape, but the dynamism of visual forces - an event rather than an appearance.”

Bridget Riley (1931) British painter

Quoted in Karl Ruhrberg et al., Art of the 20th Century (2000), p. 344.

Nature, Appearance

“They are shaman-artists who constantly strive to look into the blueprint of creation beyond the visual crowd and the noise of superficial details, the one on task to explore and communicate with a primary game of opposite values during composition and construction of a coherent imagery. They paint from both levels, the personal and the intimate and the universal one which emerges from life-giving tension. Every Ink image, every Sumi-e painting, is a unique crossroad of oppositions, of directions, of intentions. They are all constant reminders of the duality of creation and the accuracy of the equation where two equals one.”

Alfred Freddy Krupa (1971) Croatian contemporary painter, master draughtsman, book artist and art teacher, the pioneer of the New Ink Art m…

2010s

Painting, Personality, Game, Communication

“Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.”

Alfred Hitchcock (1899–1980) British filmmaker

As quoted in Hitchcock (1967) by François Truffaut.

People

“Since I think just in pictures it's sort of hard to think about abstract concepts so I have to have visual images like for example when I was a child I didn't really understand some of the stuff in the Lord's Prayer and y'know when it talks about "the power and the glory"… and I thought "electrical high tension lines, circular rainbow." "Thou art in Heaven"; that didn't make any sense to me but another autistic person says "Well I always pictured God up in Heaven with an easel."”

Temple Grandin (1947) USA-american doctor of animal science, author, and autism activist

First Person (TV series) Episode 1 "Stairway to Heaven" https://en.wikipedia.org/wiki/First_Person_(TV_series)#Season_1

God, Art, Understanding, Thinking

“The man who cannot visualize a horse galloping on a tomato is an idiot.”

André Breton (1896–1966) French writer

Horse

“A plan is a real thing, and things projected are experienced. A plan once made and visualized becomes a reality along with other realities—never to be destroyed but easily to be attacked.”

John Steinbeck book The Pearl

Source: The Pearl (1947), Ch. III

Reality

“I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?”

Federico Fellini (1920–1993) Italian filmmaker

"Television"
I'm a Born Liar (2003)

Thinking, Silence

“It is impossible that the eye should project from itself, by visual rays, the visual virtue, since, as soon as it opens, that front portion [of the eye] which would give rise to this emanation would have to go forth to the object and this it could not do without time. And this being so, it could not travel so high as the sun in a month's time when the eye wanted to see it.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective

Travel, Time, Sun

“I do think democracy has produced chaos, especially visual. A lot of people don't like it and yearn for nineteenth-century images, forgetting that the politics of those images were different than the democracy we love.”

Frank Gehry (1929) Canadian-American (b.1929)

Barbara Isenberg (2012) Conversations with Frank Gehry. p. 268.

Love, People, Democracy, Thinking

“She could just pack up and leave, but she does not visualize what's beyond ahead.”

Núria Añó (1973) Catalan writer novelist

Presage

“Art is not to be looked at. Art is looking at us. What is art to others is not necessarily art to me. Nor for the same reason and vice versa. What was art to me or was not some time ago might have lost that value or gained it in the meantime and maybe again though art is not an object but experience. To be able to perceive it we need to be receptive. Therefore art is there where art meets us now. The content of art is visual formulation of our relation to life. The measure of art, the ratio of effort to effect, the aim of art revelation and evocation of vision.”

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

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Life, Art, Effort, Time

“Graphic representation constitutes one of the basic sign-systems conceived by the human mind for the purposes of storing, understanding, and communicating essential information. As a "language" for the eye, graphics benefits from the ubiquitous properties of visual perception. As a monosemic system, it forms the rational part of the world of images.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 2

World, Communication, Understanding, Parting

“Can a physicist visualize an electron? The electron is materially inconceivable and yet, it is so perfectly known through its effects that we use it to illuminate our cities, guide our airlines through the night skies and take the most accurate measurements. What strange rationale makes some physicists accept the inconceivable electrons as real while refusing to accept the reality of a Designer on the ground that they cannot conceive Him?”

Wernher von Braun (1912–1977) German, later an American, aerospace engineer and space architect

In letter to California State board of Education (14 September 1972)

Reality, Night

“My main difficulty was that I could not paint fast enough. My pictures are all moments of my life – I mean instantaneous visual experiences, generally noted very rapidly and spontaneously. When I begin to paint, it's like leaping suddenly into deep waters, and I never know beforehand whether I will be able to swim. Well, it was Kandinsky who taught me the technique of swimming. I mean that he taught me to work fast enough, and with enough self-assurance, to be able to achieve this kind of rapid and spontaneous recording of moments of life.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

Life, Water, Painting

“It's like anything in life, visualizing the old man you're going to become: As long as you have a clear picture of that — the life you want to lead — eventually you'll probably get there.”

Heath Ledger (1979–2008) Australian actor

Quoted in Variety (December 2005).
Variant: It's like anything in life, visualizing the old man you're going to become: As long as you have a clear picture of that — the life you want to lead — eventually you'll probably get there.

Life

“At a very early stage I realised that it's a real problem to perform electronic music on stage because electronic instruments are not particularly convincing on a visual point of view: somebody behind his computer, it's not particularly visual. So I was inspired by the opera. And what was the opera in the 19th century? It was the idea for a musician to join and to work, to collaborate with a stage director, with carpenters, painters, people doing decors, graphic artists to have a visual prolongation, a visual correspondence to their work. That's what I tried to do with the tools of my generation: electronics and video and lights and all that.”

Jean-Michel Jarre (1948) French composer, performer and music producer

interviewed on the Danish Monitor radio programme 2005-11-30

People, Music, Idea, Problem

“Architecture is my first love, if you want to talk about what moves me — the ordering of space, the visual pleasure, architecture's power to construct our days and nights.”

Barbara Kruger (1945) American artist

Source: Art in America, Vol. 85, Nr. 10-12 (1997), p. 96

Love, Pleasure, Night

“The ultimate goal of all visual artistic activity is construction! Architects, painters and sculptors must learn again to know and understand the multi-faceted form of building in its entirety as well as its parts. Only then will they of their own accord fill their works with the architectonic spirit they have lost in the art of the salon. Let us establish a new guild of craftsmen without the presumption of class distinctions building a wall of arrogance between craftsmen and artists. Together let us call for, devise and create the construction of the future, comprising everything in one form: architecture, sculpture and painting.”

Walter Gropius (1883–1969) German architect (1883-1969) and founder of the Bauhaus School

Manifesto (1919)

Art, Understanding, Learning, Future

“I am essentially a recluse who will have very little to do with people wherever he may be. I think that most people only make me nervous—that only by accident, and in extremely small quantities, would I ever be likely to come across people who wouldn't. It makes no difference how well they mean or how cordial they are—they simply get on my nerves unless they chance to represent a peculiarly similar combination of tastes, experiences, and heritages; as, for instance, Belknap chances to do... Therefore it may be taken as axiomatic that the people of a place matter absolutely nothing to me except as components of the general landscape and scenery. Let me have normal American faces in the streets to give the aspect of home and a white man's country, and I ask no more of featherless bipeds. My life lies not among people but among scenes—my local affections are not personal, but topographical and architectural. No one in Providence—family aside—has any especial bond of interest with me, but for that matter no one in Cambridge or anywhere else has, either. The question is that of which roofs and chimneys and doorways and trees and street vistas I love the best; which hills and woods, which roads and meadows, which farmhouses and views of distant white steeples in green valleys. I am always an outsider—to all scenes and all people—but outsiders have their sentimental preferences in visual environment. I will be dogmatic only to the extent of saying that it is New England I must have—in some form or other. Providence is part of me—I am Providence—but as I review the new impressions which have impinged upon me since birth, I think the greatest single emotion—and the most permanent one as concerns consequences to my inner life and imagination—I have ever experienced was my first sight of Marblehead in the golden glamour of late afternoon under the snow on December 17, 1922. That thrill has lasted as nothing else has—a visible climax and symbol of the lifelong mysterious tie which binds my soul to ancient things and ancient places.”

H.P. Lovecraft (1890–1937) American author

Letter to Lillian D. Clark (29 March 1926), quoted in Lord of a Visible World: An Autobiography in Letters edited by S. T. Joshi, p. 186
Non-Fiction, Letters

Love, Life, People, Family

“Working to timings and synchronising your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, a blueprint, and provided the film has been well put together, well edited, it often suggests its own rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us.”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209

People, Religion, Art, Music

“I am probably the least sensuous of all living beings; being almost exclusively visual and quasi-abstract in imagination, and tending to view and enjoy all things as a passive, detached, and sometimes remote spectator. Those arts which appeal most to the ideational imagination—the sense of drama, pageantry, historic flux, collective organisation, or escape from the natural limitations of time, space, and natural law—are undoubtedly those which appeal chiefly to me. Even my strong love of architectural and decorative beauty is probably largely dependent upon the historical bearings of the forms and motifs in which I delight. I am not wholly insensible to abstract form, but seem to relish the associative element in art more instantly and acutely than the lyrical or mathematical element... I don't really revel in anything unless it reminds me of something else either real or visionary—unless it opens up visual avenues of linked pseudo-recollections leading to sensations of ego-expansion and liberation... usually bringing in the element of time, somehow based on the past, and harbouring hints of an elusive, intangible kind of adventurous expectancy.”

H.P. Lovecraft (1890–1937) American author

Letter to Virgil Finlay (25 September 1936), in Selected Letters V, 1934-1937 edited by August Derleth and Donald Wandrei, p. 310
Non-Fiction, Letters

Love, Law, Beauty, Art

“No man can visualize four dimensions, except mathematically … I think in four dimensions, but only abstractly. The human mind can picture these dimensions no more than it can envisage electricity. Nevertheless, they are no less real than electro-magnetism, the force which controls our universe, within, and by which we have our being.”

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

1920s, Viereck interview (1929)

Mathematics, Thinking, Universe

“The state of craving for anything blocks all deeper experience. Nothing of value can happen to a mind which knows exactly what it wants. For nothing the mind can visualize and want is of much value.”

Nisargadatta Maharaj (1897–1981) Indian guru

Desire and fear
Source: "I am That." P.49.

“When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around”

Vangelis (1943) Greek composer of electronic, progressive, ambient, jazz, pop rock, and orchestral music

1984
Context: On inspiration: "Of course, inspiration can come in different ways, depending on what field you’re working in? When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around. I absorb every experience in life, every situation, because anything can become a source of inspiration — positive or negative. In general l’m influenced more by everyday concepts — nature, the city and so forth — than by hearing other pieces of music. Neither do I find any special inspiration from working in a studio. Obviously it makes life a lot easier to have 24 tracks to record on, and I use the studio as a tool to help in the writing process. I see the mixing desk really as another instrument, the conductor for all the others. But although the tape recorder and the console are just as important as the keyboards, I haven’t equipped my studio with a lot of hi-tech effects: l’d rather spend time searching through my sound library to get the exact colour I want".

Music, Nature

“I never think about the play or visualize anything. I do what comes to me at that moment. Instinct. It has always been that way.”

Lionel Messi (1987) Argentine association football player

Way, Thinking

“I would want a dreaming machine that dreams up the most beautiful dreams and then show me exactly how to make them a reality…This is the eternal conundrum: the visualization of desires (dreams), and then the dissonance between that and reality.”

Sally Wen Mao Chinese-born American poet

On her poem “Yume-Miru Kikai” in “41.2 Feature: An Interview with Sally Wen Mao” https://bwr.ua.edu/an-interview-with-poet-sally-wen-mao-from-issue-41-2/ in Black Warrior Review (2015 Mar 2)

Beauty, Dreams, Reality, Making love

“Mankind undervalues VISUALIZATION, because we have been lead to believe that thoughts are the cast off abstractions of the brain. But visualization is source's attribute of creation which is acting through the mind of mankind. As extensions of source, whenever we visualize, we bring forth the essence of what we visualize into visible, tangible, physical experience. No form ever came into existence without someone consciously holding a picture of that form first in his or her thoughts.”

Teal Swan (1984) American spiritual teacher

“A picture means I know where I was every minute. That's why I take pictures. It's a visual diary.”

Andy Warhol (1928–1987) American artist

“It seems to me that the natural world is the greatest source of excitement; the greatest source of visual beauty; the greatest source of intellectual interest. It is the greatest source of so much in life that makes life worth living.”

David Attenborough (1926) British broadcaster and naturalist

Life, World, Beauty, Nature

“Death? Why all this fuss about death? Use your imagination, try to visualize a world without death! Death is the essential condition to life, not an evil.”

Charlotte Perkins Gilman (1860–1935) American feminist, writer, commercial artist, lecturer and social reformer

Life, Death, World, Imagination

“Through imagination, we can visualize the uncredited worlds of potential that lie within us.”

Stephen R. Covey (1932–2012) American educator, author, businessman and motivational speaker

Lie, World, Imagination

“Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.”

Mina Loy (1882–1966) Futurist poet and actress

Source: The Lost Lunar Baedeker: Poems of Mina Loy

Music, Idea

“I can't read fiction without visualizing every scene. The result is it becomes a series of pictures rather than a book.”

Alfred Hitchcock (1899–1980) British filmmaker

Books, Reading

“I like living, breathing better than working… my art is that of living. Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral, it's a sort of constant euphoria.”

Marcel Duchamp (1887–1968) French painter and sculptor

Art

“Typography is the craft of endowing human language with a durable visual form.”

Robert Bringhurst The Elements of Typographic Style

Source: The Elements of Typographic Style

“Courage moral and physical: 'anima'—the ability to think like a woman. Also a sense of the absurd. Courage moral and physical: “anima”—the ability to visualize the mind and need of a man. Also a sense of the absurd.”

Christopher Hitchens (1949–2011) British American author and journalist

Source: Hitch-22: A Memoir

Courage, Thinking, Sense

“I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Source: Life Itself

Life

“Aspects of visual perception—motion, depth, form, and color—are segregated from one another and conveyed in separate pathways in the brain, where they are brought together and coordinated into a unified perception.”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

Color

“Our sensitivity to the tone, hue, and intensity of light is bound up with our evolutionary heritage. Even the diversity of our visual abilities may echo our ancestors' ecology.”

David G. Haskell (1950) writer, Biologist

"November 5th — Light," page 206 The Forest Unseen: A Year's Watch in Nature http://theforestunseen.com/ (2012)

Light

“Color is not so much a visual as a tactile medium.”

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

1970s, Culture Is Our Business (1970)

Color

“The medium of printed scientific text is first of all a visual one.”

Jay Lemke (1946) American academic

Jay L. Lemke (1998) "Multiplying meaning: Visual and verbal semiotics in scientific text." In J. R. Martin & R. Veel (Eds.), Reading science: Critical and functional perspectives on discourses of science. London: Routledge. p. 95

“Pictures are the idea in visual or pictorial form; and the idea has to be legible, both in the individual picture and in the collective context – which presupposes, of course, that words are used to convey information about the idea and the context. However, none of this means that pictures function as illustrations of an idea: ultimately, they are the idea. Nor is the verbal formulation of the idea a translation of the visual: it simply bears a certain resemblance to the meaning of the idea. It is an interpretation, literally a reflection.”

Gerhard Richter (1932) German visual artist, born 1932

Quote from Richter's letter to Jean-Christophe Ammann, February 1973; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 1970's

Idea

“I don’t hate her personally, though if she were enough of a person to be worth such a strong emotion I think I easily could. What I hate is what she represents: the willingness of human beings to be reduced to a slick visual package, like a new television set—up-to-the-minute casing, same old works.”

John Brunner book Stand on Zanzibar

the happening world (8) “Be Kind To Your Forfeited Friends”
Stand on Zanzibar (1968)

Hate, Thinking, Strong, Personality

“This is especially important when addressing less statistically savvy audiences. Such audiences could perhaps be encouraged to think of two normal distributions, one representing males and the other females. Instead of imagining that natural selection creates two distinct psychological types — a male type and a female type, described by the mean values for each group — they could be encouraged to imagine that natural selection pushes the male and female distributions closer together or further apart. This simple expedient may help people to visualize the effects of natural selection on average sex differences without at the same time losing sight of the variation within each sex.”

Steve Stewart-Williams (1971)

Source: The Ape that Kicked the Hornet's Nest (2013), p. 268

People, Sex, Imagination, Nature

“The Unified Modeling Language (UML) is a general-purpose visual modeling language that is used to specify, visualize, construct, and document the artifacts of a software system. It captures decisions and understanding about systems that must be constructed. It is used to understand, design, browse, conﬁgure, maintain, and control information about such systems. It is intended for use with all development methods, lifecycle stages, application domains, and media. The modeling language is intended to unify past experience about modeling techniques and to incorporate current software best practices into a standard approach. UML includes semantic concepts, notation, and guidelines. It has static, dynamic, environmental, and organizational parts. It is intended to be supported by interactive visual modeling tools that have code generators and report writers. The UML speciﬁcation does not deﬁne a standard process but is intended to be useful with an iterative development process. It is intended to support most existing object-oriented development processes.”

James Rumbaugh (1947) Computer scientist, software engineer

James Rumbaugh, Ivar Jacobson & Grady Booch (1998) The Unified Modeling Language Reference Manual. p. 1

Understanding, Support, Decision, Past

“The paradox in the evolution of French painting from Courbet to Cézanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.”

Clement Greenberg (1909–1994) American writer and artist

"On the Role of Nature in Modernist Painting" (1949), p. 171
1960s, Art and Culture: Critical Essays, (1961)

Effort, Appearance, Painting

“It's interesting to see the dislocation between how people perceive a person visually. Apparently on the radio I'm blonde with a big arse.”

Tamsin Greig (1966) English actress

About what people thought her Archers character Debbie Aldridge looked like.
From an interview with the Telegraph, "Seriously funny."

People, Personality

“A word says more than a thousand images. Exercises for the visually inclined: illustrate "appreciation", "humor", "software", "education", "inalienable rights", "elegance", "fact."”

Erik Naggum (1965–2009) Norwegian computer programmer

Re: Emacs inferior to XEmacs? http://groups.google.com/group/comp.unix.programmer/msg/716a6bf5d03226a1 (Usenet article). Usenet articles, Miscellaneous

Education, Exercises

“Locke supposes that a person acquainted sensibly with the colours which compose a rainbow, can by the names of such colours in a verbal description, be made visually acquainted with a rainbow. The verbal description will give such a person's intellect a good verbal definition of the word rainbow, but it cannot communicate the sight to the extent that it differs, in any manner from the sights he already knows.”

Alexander Bryan Johnson (1786–1867) United States philosopher and banker

Part II. Of the Extent of Sensible Knowledge.
The Physiology of the Senses: Or, How and what We See, Hear, Taste, Feel and Smell (1856)

Communication, Personality

“I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual and that works so much better than having someone tell me what the character is all about”

Frank Welker (1946) American actor

Frank Welker Q&A http://www.ign.com/articles/2009/09/16/frank-welker-qa (September 15, 2009)

“The geometry of Tlön comprises two somewhat different disciplines: the visual and the tactile. The latter corresponds to our own geometry and is subordinated to the first.”

Jorge Luis Borges book Tlön, Uqbar, Orbis Tertius

Tlön, Uqbar, Orbis Tertius (1940)

“Now I gazed upon him, no longer in a passionate frenzy, but in a cold contempt. I visualized long days and nights of vengeance, of fiendish ingenuity and complete consumation. My enemy was at my mercy; he lived; all the plans of hate and torture I had concieved through the long years of wrong and insult I would wreak upon him. My plans were carefully laid; I knew exactly what tortures I would use, how long I could inflict them without causing death, until my enemy at last went forth, a man ruined of soul and body. I was at peace, and content.”

Robert E. Howard (1906–1936) American author

From “Revenge” in a letter to Tevis Clyde Smith (c. late Aug/early September 1927)
Letters

Death, Hate, Peace, Soul

“Well, at first I wanted to put blinds on the building [of the outdoor-sculpture Josef Strau did for her recently]. But when I do something I've already done before, I sometimes have a certain feeling of uncertainty. Although I am falling back on something that I know is safe and pretty good. But then it was all too expensive. I had seen glowing green, fresh bamboo at the KaDeWe store. It had attracted my attention and I thought it would be nice to do something with it. Back home, sitting over the photo, drawing some things on it, I remembered this lovely green bamboo again and also that there was this fascist building – or partly fascist building – next to the store, a theater, an ugly building. And then I thought, bamboo is politically correct, that's just the thing. But I also think it's visually beautiful. Simple. The work is called 'Haare wachsen wie sie wollen”

Isa Genzken (1948) German sculptor

'Hair grows the way it wants'
2001 - 2010, Isa Genzken in conversation with Wolfgang Tillmans' (2003)

Love, Beauty, Way, Feeling

“Many is the mirage I chased. Always I was overreaching myself. The oftener I touched reality, the harder I bounced back to the world of illusion, which is the name for everyday life. 'Experience! More experience!' I clamored. In a frantic effort to arrive at some kind of order, some tentative working program, I would sit down quietly now and then and spend long, long hours mapping out a plan of procedure. Plans, such as architects and engineers sweat over, were never my forte. But I could always visualize my dreams in a cosmogonic pattern. Though I could never formulate a plot I could balance and weigh opposing forces, characters, situations, events, distribute them in a sort of heavenly lay-out, always with plenty of space between, always with the certitude that there is no end, only worlds within worlds ad infinitum, and that wherever one left off one had created a world, a world finite, total, complete.”

Henry Miller book Plexus

The Rosy Crucifixion II : Plexus (1953)

Life, World, Dreams, Reality

“I find it nearly impossible free ice to write about jeep axle my work. The concept I plantatarium struggle to deal with ketchup is opposed to the logical continuity lift tab inherent in language horses and communication. My fascination with images open 24 Hrs. is based on the complex interlocking of disparate visual facts heated pool that have no respect for grammar. The form then Denver 39 is second hand to nothing. The work then has a chance to electric service become its own cliche. Luggage. This is the inevitable fate fair ground of any inanimate object Freight-ways by this, I mean anything that does not have inconsistency as a possibility built-in..”

Robert Rauschenberg (1925–2008) American artist

Quote from 'Note on Painting', Robert Rauschenberg, in Pop Art Redefined, October/November 1963, J. Rusell and Suzi Gablik, Praeger Publishers, New York, 1969
1960's

Fate, Way, Communication, Chance

“Visual forms are not perceived differently from colors or brightness. They are sense qualities, and the visual character of geometry consists in these sense qualities.”

Hans Reichenbach (1891–1953) American philosopher

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

Color, Sense

“I mean, if 10 years from now, when you are doing something quick and dirty, you suddenly visualize that I am looking over your shoulders and say to yourself "Dijkstra would not have liked this", well, that would be enough immortality for me.”

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

Dijkstra (1995) "Introducing a course on calculi" http://www.cs.utexas.edu/users/EWD/ewd12xx/EWD1213.PDF (EWD 1213). 1990s

“I missed the enormously popular movie that introduced these characters, Bill & Ted's Excellent Adventure, and felt myself blessed at the time. But now I'm not so sure. Their Bogus Journey is a riot of visual invention and weird humor that works on its chosen sub-moronic level, and on several others as well, including some fairly sophisticated ones. It's the kind of movie where you start out snickering in spite of yourself, and end up actually admiring the originality that went into creating this hallucinatory slapstick.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/bill-and-teds-bogus-journey of Bill & Ted's Bogus Journey (19 July 1991) Reviews, Three star reviews

Time

“During the late 1970s and early 1980s there was vigorous debate about the nature of visual mental imagery. One position (championed primarily by Pylyshyn, 1973, 1981) held that representations that underlie the experience of mental imagery are the same type as those used in language; the other position (which my colleagues and I supported, e. g., Kosslyn, 1980, 1994) held that these representations serve to depict, not describe, objects. The debate evolved over time… but always centred on the nature of the internal representations that underlie the experience of visualisation.”

Stephen Kosslyn (1948) American psychologist

Stephen M. Kosslyn, "Mental images and the brain." Cognitive Neuropsychology 22.3-4 (2005): p. 333

Support, Nature, Time

“Perceptual space is not a special space in addition to physical space, but physical space which we endow with a special subjective metric. …apart from the definition of congruence in physics and that based on perception, there is no third one derived from pure visualization. Any such third definition is nothing but the definition of physical congruence to which our normative function has adjusted the subjective experience of congruence.”

Hans Reichenbach (1891–1953) American philosopher

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

“Here [in the Netherlands] there is absolutely nothing, nowhere and permanently committees to deliver the visual artists some money, since all are hungry. It is such a difficult time for Holland. I had flu, I was very sick and I am still too weak to work.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018
version in Dutch / citaat van Jacoba van Heemskerck, in het Nederlands vertaald: Hier [in Nederland] is absoluut niets, nergens geld en voortdurend comités om de beeldende kunstenaars geld te bezorgen, aangezien allen honger lijden. Voor Holland zijn het zo moeilijke tijden. Ik had griep, was erg ziek en ben nog te zwak om te werken.
In her letter to Herwarth Walden, 17 Feb. 1922; as cited in Jacoba van Heemskerck van Beest, 1876 – 1923: schilderes uit roeping, A. H. Huussen jr. (ed. Marleen Blokhuis), (ISBN: 90-400-9064-5); Waanders, Zwolle, 2005, p. 183
Jacoba is often ill these last years and rather vulnerable, but nevertheless busy with her designs of ordered glass-windows.
1920's

Money, Time

“Poetry photographs parts of life and humanity that can’t be captured visually, at least in a literal sense. It dissects the hopelessness of being alive and makes it seem to develop meaning momentarily, even if it never actually does.”

Robbie Coburn (1994) Australian writer

in 2014, Going Down Swinging

Life, Sense, Parting

“I was twenty-one when I first went to New York, and I was so fascinated by the architecture and glad that something like that existed and that I was able to have this visual experience that I thought to myself, this is where I want to live. To me, New York had a direct link with sculpture – that must have been it. Although at twenty-one I wasn't a sculptress yet, I was just starting my studies and I didn't even know what I wanted to do... New York is a city of incredible stability and solidity. And then the height of the buildings – that impressed me, like the people who always seemed a bit happier than the Germans in the street. When I came back to Germany it seemed to me that it wasn't particularly nice, my visual surroundings – it was all so dreary. And modernism hardly features at all in Germany. Okay, there was Bauhaus and there was this and that, but modernism is practically non-existent in architecture.”

Isa Genzken (1948) German sculptor

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

People, Study

“The invention of typography confirmed and extended the new visual stress of applied knowledge, providing the first uniformly repeatable “commodity,” the first assembly-line, and the first mass-production.”

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. 142

Knowledge

“Henry of Essex's religion was the Inner Light or Moral Conscience of his own soul; such as is vouchsafed still to all souls of men;—which Inner Light shone here 'through such intellectual and other media' as there were; producing 'Phantasms,' Kircherean Visual-Spectra, according to circumstances! It is so with all men. The clearer my Inner Light may shine, through the less turbid media; the fewer Phantasms it may produce,—the gladder surely shall I be, and not the sorrier! Hast thou reflected, O serious reader, Advanced- Liberal or other, that the one end, essence, use of all religion past, present and to come, was this only: To keep that same Moral Conscience or Inner Light of ours alive and shining.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Past and Present (1843)

Men, Religion, Soul, Light

“Naturally, in order to find in this break [in the visual perception] with time-honored habits a basis for a new pictorial harmony and a plastic means of dealing with life and movement, there must be an artistic sensibility far in advance of the normal vision of the crowd.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Life, Nature, Time

“While the film Life of Christ was rolling past before my eyes I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra their Gokul and Ayodhya.. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape in the screen. Could this really happen? Could we the sons of India, ever be able to see Indian images on the screen. The whole night passed in this mental agony.”

Dadasaheb Phalke (1870–1944) Indian producer-director-screenwriter

After watching the film The Life of Christ in 1910 quoted in *[Ganti, Tejaswini, Bollywood: A Guidebook to Popular Hindi Cinema, http://books.google.com/books?id=2GAdCp1VAf0C&pg=PA8, 5 March 2013, Routledge, 978-1-136-84929-9, 92]
Quote

Life, God, Imagination, Time

“I like to think of myself as the ultimate anti-postmodernist post-modernist. Notwithstanding the unusual narrative or visual devices that appear in many of the films, what have kept me going for the three years of investigating [for The Thin Blue Line, was the belief that there answers to questions such as, Adams did it, didn't he? Or Harris did it, didn't he? That it's not just up for grabs. Today, I believe there's a kind of frisson of ambiguity. People think that ambiguity is somehow wonderful in its own right, an excuse for failing to investigate. What can I say? I think this view is wrong. At best, misguided. Maybe even reprehensible.”

Errol Morris (1948) American filmmaker and writer

Source: The Anti-Post-Modern Post-Modernist http://errolmorris.com/content/lecture/theantipost.html

People, Question, Thinking, Appearance

“There is also a considerable tendency to define the subject as a kind of meeting place of science and art. This is exemplified by Eckert. He pleads for artistic imagination and intuition in cartographic portrayal and claims that the inter-action of such talents with scientific geography produces the aesthetic map. There is no question about the importance of imagination and new ideas, but it is equally important that significant processes be objectively investigated, whether it be the visual consumption of a graphic technique or a process in geomorphology. It can perhaps best be approached by a comparison of the aims, techniques involved, and the results accomplished by each activity”

Arthur H. Robinson (1915–2004) American geographer

Source: The Look of Maps (1952), p. 17; as cited in: Kirk Patrick Goldsberry (2007) Real-time Traffic Maps. p. 23-24

Art, Imagination, Idea, Question

“Why should we put up with the present evils in our society? As opposed to the society we are visualizing, the present one can be described as a diseased one. The evils are there on all levels, international and national, and even within the smaller units such as towns and families. Of course, the disease did not appear like a bolt from the blue, either yesterday, or last year. It is the result of factors that have deep roots and long lives. These consist of privations, discriminations oppressions, bigotries, hatreds, and hostilities; poverty, ignorance, hunger, and illiteracy. Each and all of these have been left to us as ar evil heritage from the past. The fundamental difference between our situation today and that of our forefathers is that now knowledge has enabled us to realize that these evils are neither natural nor inevitable in the same way as we have found that cholera or the bubonic plague are not necessary calamities.”

Mohammad Reza Pahlavi (1919–1980) Shah of Iran

The Shah's Address to Harvard University - Creation of the Universal Welfare Legion - June 13, 1968 http://members.cybertrails.com/~pahlavi/harvard.html Speeches, 1968

Hunger, Hostility, Disease, Family

“The development of plastic art is determined by the will to visualize. Art of the past represented the subjective vision of 'naturalistic relationships'. Neoplasticism embodies a subjective vision of 'plastic' relationships… Pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships and abstract lines, is revealed conceptually (as Reason) by Chinese, Greek and German philosophy, and aesthetically by contemporary Neoplasticism [= De Stijl.”

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

Quote in Van Doesburg's art-review, published in: 'Thought – Vision – Creation', in De Stijl Vol ll, 2 December 1918; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, pp. 108–109
1912 – 1919

Art, Nature, Past

“For what purposes are we organizing this congress? Although this congress aims at electing the party leaders, adopting the party’s statute, validating the Party’s Central Committee membership so on and so forth, it only marks the stepping stones towards our goal. So what is our goal? We have to visualize the common dream which is our goal. It is a common dream that all Cambodian citizens have visualized, ―A nation in which we live in equity as its owners.”

Khem Veasna (1971) Cambodian politician

The first speech at LDP congress

Dreams

“Two normal observers viewing the same object from the same place under the same physical circumstances do not necessarily have identical visual experiences, even though the images on their respective retinas may be virtually identical.”

Alan Chalmers book What Is This Thing Called Science?

Source: What Is This Thing Called Science? (Third Edition; 1999), Chapter 1, Science as knowledge derived form the facts of experience, p. 5.

“Joni's genius is that she creates chords that are ambiguous, chords that have two or more different roots. …Joni's music is as close to impressionist visual art as anything I've heard. …harmonic complexity born out of her strict insistence that the music not be anchored in a single harmonic interpretation.”

Daniel Levitin (1957) American psychologist

This is Your Brain on Music (2006)

Art, Music

“From the day that the impressionists liberated painting, the modern picture set out at once the structure itself on contrasts; instead of submitting to a subject, the painter makes an insertion and uses a subject in the service of purely plastic means.... [the contemporary painter] must prepare himself in order to confer a maximum of plastic effect on means that have not yet been used. He must not become an imitator of the new visual objectivity, but be a sensibility completely subject to the new state of things.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 14
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Painting

“People who are just getting "seriously interested" in film always ask a critic, "Why don’t you talk about technique and 'the visuals' more?" The answer is that American movie technique is generally more like technology and it usually isn’t very interesting.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

People

“The cinema is about other things than storytelling. What you remember from a good film -- and let's only talk about good films -- is not the story, but a particular and hopefully unique experience that is about atmosphere, ambience, performance, style, an emotional attitude, gestures, singular events, a particular audio-visual experience that does not rely on the story.”

Peter Greenaway (1942) British film director

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

“Whether looming over the land as a symbol of a ruler’s authority or providing a setting for displays of wealth and power in spectacular feasts and tournaments, castles made a visual statement about their owners. All ar chitecture has symbolic overtones, and the castle is a potent image.”

Marilyn Stokstad (1929–2016) art historian

Source: Medieval castles (2005), Ch. 4 : The Castle as Symbol and Palace

Wealth

“The ways of thinking implanted by electronic culture are very different from those fostered by print culture. Since the Renaissance most methods and procedures have strongly tended towards stress on the visual organization of knowledge.”

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

1990s and beyond, "The Agenbite of Outwit" (1998)

Way, Knowledge, Thinking

“[The special properties of visual perception of data]… is the visual means of resolving logical problems.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Graphics and graphic information processing (1981), p. 16 as cited in: Riccardo Mazza (2004) Introduction to Information Visualisation http://www.dti.supsi.ch/~mazza/infovis_introduction.pdf

Problem

“I am reminded of a comment Lord Dunsany made. He saw a script which had a gorgeous description of a sun setting over a landscape, and this had to be crossed out, and it said, "Sun sets, left." This is what I mean by the visuals being supplied by someone else, in that case the stage designer and the director.”

Lord Dunsany (1878–1957) Irish writer and dramatist

About

Sun

“Well part of the reason I have that many credits is I don’t get in my director’s face too much. I just do what I’m told. But I’ve also been burned by first time directors. Anthony and I talked about it and, you know, he thought he was picking me and I thought I was picking him and we hit it off. He’s very visual which is exactly what you want for this.”

Clancy Brown (1959) American actor and voice actor

Clancy Brown interview: Warcraft, Nothing Left to Fear http://www.denofgeek.com/us/movies/clancy-brown/233112/clancy-brown-interview-warcraft-nothing-left-to-fear (February 18, 2014)

Time, Parting

“I begin with movement... I believe that all human visual experiences are born from movement..”

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

An unpublished manuscript 'Die Arbeit E. L. Kirchners' by E. L. Kirchner 1925–1926; as quoted in Kirchner and the Berlin street, ed. Deborah Wye, Moma, New York, 2008, p. 39
1920's

“I didn't even know that there was art until I left Texas when I was eighteen. The only painting I knew (and I didn't know it was a 'painting' until much later) was 'Hope' [of George Frederic Watts, 1886] the woman sitting on the globe with... that green [of the painting 'Hope'] you only get in reproductions]! I think that negates the idea of a painter's relation to official – old master art. It was neutral ground – that one picture – I responded to visual things...'Hope' was just sort of visual thing there, not art.”

Robert Rauschenberg (1925–2008) American artist

1950's, Is today's artist with or against the past, (1958)

Hope, Art, Idea, Thinking

“If you can visualize a bulldog which has just been kicked in the ribs and had its dinner sneaked by the cat, you will have Hildebrand Glossop as he now stood before me.”

P.G. Wodehouse book Right Ho, Jeeves

Right Ho, Jeeves (1934)

Cats

“To the gross senses the chair seems solid and substantial. But the gross senses and be refined by means of instruments. Closer observations are made, as the result of which we are forced to conclude that the chair is “really” a swarm of electric charges whizzing about in empty space. … While the substantial chair is an abstraction easily made from the memories of innumerable sensations of sight and touch, the electric charge chair is a difficult and far-fetched abstraction from certain visual sensations so excessively rare (they can only come to us in the course of elaborate experiments) that not one man in a million has ever been in the position to make it for himself. The overwhelming majority of us accept the electric-charge chair on authority, as good Catholics accept transubstantiation.”

Aldous Huxley (1894–1963) English writer

“One and Many,” pp. 8–9
Do What You Will (1928)

Sense, Memory

“Perhaps the most precious possession of man is his abiding awareness of the Analogy of Proper Proportionality, the key to all metaphysical insight, and perhaps the very condition of consciousness itself. This analogical awareness is constituted of a perpetual play of ratios among ratios. A is to B, what C is to D, which is to say the ratio between A and B, is proportionable to the ratio between C and D, there being a ratio between these ratios, as well, this lively awareness of the most exquisite delicacy depends upon there being no connection whatsoever between the components. If A were linked to B, or C to D, mere logic would take the place of analogical perception, thus one of the penalties paid for literacy and a high visual culture is a strong tendency to encounter all things through a rigorous storyline, as it were. Paradoxically, connected spaces and situations exclude participation, whereas discontinuity affords room for involvement. Visual space is connected and creates detachment or non-involvement. It also tends to exclude the participation of the other senses.”

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

Source: 1960s, Through the Vanishing Point (1968), p.240

Penalty, Sense, Strong, Dependency

“It is surely unnecessary to dwell on the interest and importance of a study which instructs us that every pebble we tread upon bears the impress of the Almighty's hand, and affords evidence of Creative wisdom; that every grain of sand, every particle of dust scattered by the wind, may be composed of the aggregated skeletons of beings, so minute as to elude our unassisted vision, but which possessed an organization as marvellous as our own;—a science discoveries have realized the wildest imaginings of the poet,—whose realities far surpass in grandeur and sublimity the most imposing fictions of romance;—a science whose empire is the earth, the ocean, the atmosphere, the heavens;—whose speculations embrace all elements, all space, all time;—objects the most minute, objects the most colossal;—carrying its researches into the smallest atom which the microscope can render accessible to our visual organs,—and comprehending all the phenomena in the boundless Universe, which the powers of the telescope can reveal.”

Gideon Mantell (1790–1852) British scientist and obstetrician

The Medals of Creation or First Lessons in Geology (1854)

Wisdom, Imagination, Reality, Study

“The world of the Greeks illustrates why visual appearances cannot interest people before the interiorization of alphabetic technology.”

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. 61

People, World, Appearance

“There is no pure visualization in the sense of a priori philosophies; every visualization is determined by previous sense perceptions, and any separation into perceptual space and space of visualization is not permissible, since the specifically visual elements of the imagination are derived from perceptual space. What led to the mistaken conception of pure visualization was rather an improper interpretation of the normative function… an essential element of all visual representations. Indeed, all arguments which have been introduced for the distinction of perceptual space and space of visualization are base on this normative component of the imagination.”

Hans Reichenbach (1891–1953) American philosopher

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

Imagination, Sense

“To deal with the whole visual input at once, and make discriminations based on any combination of features in the field, would require too large a brain, or too much "previous experience" to be plausible.”

Ulric Neisser (1928–2012) American psychologist

Source: Cognitive Psychology, 1967, p. 87

“People should talk less and draw more. Personally, I would like to renounce speech altogether and, like organic nature, communicate everything I have to say visually.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Wir sprechen überhaupt viel zu viel. Wir sollten weniger sprechen und mehr zeichnen. Ich meinerseits möchte mir das Reden ganz abgewöhnen und wie die bildende Natur in lauter Zeichnungen fortsprechen.
Attributed to Goethe by Johannes Falk in Goethe aus näherm persönlichen Umgange dargestellt (1832). http://www.literatur-live.de/salon/_falk_goethe.pdf
Attributed

People, Communication, Nature, Drawing

“The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural… Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.”

Ben Nicholson (1894–1982) British painter

"Notes on Abstract Art" in Herbert Read's Ben Nicholson: Paintings, Reliefs, Drawings (London, 1948)

Music, Painting

“Science does not speak of the world in the language of words alone, and in many cases it simply cannot do so. The natural language of science is a synergistic integration of words, diagrams, pictures, graphs, maps, equations, tables, charts, and other forms of visual and mathematical expression… [Science thus consists of] the languages of visual representation, the languages of mathematical symbolism, and the languages of experimental operations.”

Jay Lemke (1946) American academic

Jay Lemke (2003), "Teaching all the languages of science: Words , symbols, images and actions," p. 3; as cited in: Scott, Phil, Hilary Asoko, and John Leach. "Student conceptions and conceptual learning in science." Handbook of research on science education (2007): 31-56.

World, Mathematics, Nature, Science

“Bosboom seemed to have enjoyed my drawing [= watercolor] - He gave me a small visual comment - which I accepted with thanks and will follow. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) scheen in mijn teekening [= aquarel] plaisir te hebben – Hij maakte mij nog een kleine observatie - die ik in dank heb aangenomen en volgen zal.
In a letter to Pieter verLoren van Themaat, 4 Oct, 1868; in Haagsch Gemeentearchief / Municipal Archive of The Hague
1860's

Drawing

“Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking… I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students.”

Robert Rauschenberg (1925–2008) American artist

Source: 1960's, The Bride and the Bachelors, (1962), p. 198

World, Beauty, Art, Mountain

“.. Thus in the presence of the scorching sun, purple sea, and luxuriant blossoms, the memory of an experience of her fervid early love [Daberlohn = Alfred Wolfsohn ] came back to her. And she tried to visualize that face, that figure. And Io, she succeeded, and she noticed that this was a very interesting occupation. For she discovered that that figure…”

Charlotte Salomon (1917–1943) German painter

Charlotte's 6th ending, written page in brush, related to JHM no. 4922v https://charlotte.jck.nl/detail/M004922/part/character/theme/keyword/M004922: (553) 'Life? or Theater..', p. 818 Charlotte Salomon - Life? or Theater?

Love, Memory, Sun, Sea