„Sculptured figures which appear in motion, will, in their standing position, actually look as if they were falling forward.“
— Leonardo Da Vinci Italian Renaissance polymath 1452 - 1519
„But a sculpture which sets out to achieve the same ends demands an almost unbelievable effort of concentration. Practically none of the episodes or moments of such a legend, [of Prometheus ] really lends itself to sculpture, and the sculptors of the nineteenth century were often quite careless or foolish in the choice of the moment which they set out to represent. Their works could thus become cluttered with all sorts of narrative details which detract from the monumental quality of the whole… That's why, in my 'Prometheus', I represent the fire as an integral part of the presence or appearance of the hero; he stands there before us in all his awe-inspiring grandeur, a human figure that seemed in the eyes of the men who first saw him to be actually consumed by the fire that he was bearing. [c. 1960]“
— Ossip Zadkine, p. 154
Ossip Zadkine
1890 - 1967Publicidade
Citações relacionadas
Publicidade
„Antique art has come down to us in a fragmentary condition, and we have virtuously adapted our taste to this necessity. Almost all our favorite specimens of Greek sculpture, from the sixth century onward, were originally parts of compositions, and if we were faced with the complete group in which the Charioteer of Delphi was once a subsidiary figure, we might well experience a moment of revulsion. We have come to think of the fragment as more vivid, more concentrated, and more authentic.“
— Kenneth Clark Art historian, broadcaster and museum director 1903 - 1983
Ch. VI: Pathos
„My drawings [c. 1945 - 1955] were almost always figures, many pseudo-self-portraits, which I often set against a kind of sun or focus, as if the whole universe radiated from my head, from a point between my eyes. My few oils make even clearer this vision of an axial character, centrally placed, facing the spectator, or turned around, with symmetrical postures, as one in prayer; they show the influence of [medieval] Catalan Romanesque art. In general, molecular rays from the periphery appear to form the central figure and converge in his head, or come out of it, and give life to his surroundings.“
— Antoni Tàpies Catalan painter, sculptor and art theorist 1923 - 2012
as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
„It is a terrible and awesome thing when a man sets out to create all other men in his own image. Such became the goal and all consuming ambition of Karl Marx. Not that he would have made each man equal to himself; in fact, it was quite the contrary. The image he hoped to construct was a great human colossus with Karl Marx as the brain and builder and all other men serving him as the ears and eyes, feet and hands, mouth and gullet. In other words, Marx surveyed the world and dreamed of the day when the whole body of humanity could be forced into a gigantic social image which conformed completely to Marx's dream of a perfect society.“
— W. Cleon Skousen ex FBI agent, conservative United States author and faith-based political theorist 1913 - 2006
„I can quite understand the effort he is making; it is a very good thing not to want to go on repeating oneself. But he has concentrated all his attention on line; the figures stand out against each other without any sort of relationship, and so the whole thing is meaningless. Renoir is no draughtman, and without the lovely colours he used to use so instinctively, he is incoherent.“
— Camille Pissarro French painter 1830 - 1903
In a letter to his son w:Lucien Pissarro, 14th May 1887, as quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 188
Pissarro's critical quote on Renoir's painting art
„Grosseteste appears to have been the first medieval writer to recognize and deal with the two fundamental methodological problems of induction and experimental verification and falsification which arose when the Greek conception of geometrical demonstration was applied to the world of experience. He appears to have been the first to set out a systematic and coherent theory of experimental investigation and rational explanation by which the Greek geometrical method was turned into modern experimental science. As far as is known, he and his successors were the first to use and exemplify such a theory in the details of original research into concrete problems.“
— Alistair Cameron Crombie Australian zoologist, historian of science 1915 - 1996
„I would not so dishonour God as to lend my voice to perpetuate all the mad and foolish things which men have dared to say of Him.“
— James Anthony Froude English historian, novelist, biographer, and editor of Fraser's Magazine 1818 - 1894
Context: I would not so dishonour God as to lend my voice to perpetuate all the mad and foolish things which men have dared to say of Him. I believe that we may find in the Bible the highest and purest religion..... most of all in the history of Him in whose name we all are called. His religion — not the Christian religion, but the religion of Christ — the poor man's gospel; the message of forgiveness, of reconciliation, of love; and, oh, how gladly would I spend my life, in season and out of season, in preaching this! But I must have no hell terrors, none of these fear doctrines; they were not in the early creeds, God knows whether they were ever in the early gospels, or ever passed His lips. He went down to hell, but it was to break the chains, not to bind them.
Letter II
„He is setting up a mosaic configuration or galaxy for insight … Innis makes no effort to "spell out" the interrelations between the components in his galaxy. He offers no consumer packages in his later work, but only do-it-yourself kits…“
— Marshall McLuhan Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a communicatio… 1918 - 1980
Context: There is nothing willful or arbitrary about the Innis mode of expression. Were it to be translated into perspective prose, it would not only require huge space, but the insight into the modes of interplay among forms of organisation would also be lost. Innis sacrificed point of view and prestige to his sense of the urgent need for insight. A point of view can be a dangerous luxury when substituted for insight and understanding. As Innis got more insight he abandoned any mere point of view in his presentation of knowledge. When he interrelates the development of the steam press with 'the consolidation of the vernaculars' and the rise of nationalism and revolution he is not reporting anybody's point of view, least of all his own. He is setting up a mosaic configuration or galaxy for insight … Innis makes no effort to "spell out" the interrelations between the components in his galaxy. He offers no consumer packages in his later work, but only do-it-yourself kits...
p. 216; this paragraph was quoted as "context (0) - THE INNIS MODE" by John Brunner, the epigraph or first chapter in his novel Stand on Zanzibar (1968)
„A task becomes a duty from the moment you suspect it to be an essential part of that integrity which alone entitles a man to assume responsibility.“
— Dag Hammarskjöld Swedish diplomat, economist, and author 1905 - 1961
„In the case of those who are killed in battle, as in all other cases of violent death, a spirit, during the first few moments, is in a state of bewilderment, and as though he were stunned. He does not know that he is dead and seems to be taking part in the action. It is only little by little that the reality of his situation becomes apparent to him.“
— Allan Kardec systematizer of Spiritism 1804 - 1869
p. 249.
„Truth, to the human consciousness at least, is but that vitally just relation of part to whole which is the very condition of life itself. And the task before the imaginative writer, whether at the end of the last century or all these aeons later, is the presentation of a vision which to eye and ear and mind has the implicit proportions of Truth.“
— John Galsworthy English novelist and playwright 1867 - 1933
Context: Writing not long ago to my oldest literary friend, I expressed in a moment of heedless sentiment the wish that we might have again one of our talks of long-past days, over the purposes and methods of our art. And my friend, wiser than I, as he has always been, replied with this doubting phrase "Could we recapture the zest of that old time?"
I would not like to believe that our faith in the value of imaginative art has diminished, that we think it less worth while to struggle for glimpses of truth and for the words which may pass them on to other eyes; or that we can no longer discern the star we tried to follow; but I do fear, with him, that half a lifetime of endeavour has dulled the exuberance which kept one up till morning discussing the ways and means of aesthetic achievement. We have discovered, perhaps with a certain finality, that by no talk can a writer add a cubit to his stature, or change the temperament which moulds and colours the vision of life he sets before the few who will pause to look at it. And so — the rest is silence, and what of work we may still do will be done in that dogged muteness which is the lot of advancing years.
Other times, other men and modes, but not other truth. Truth, though essentially relative, like Einstein's theory, will never lose its ever-new and unique quality — perfect proportion; for Truth, to the human consciousness at least, is but that vitally just relation of part to whole which is the very condition of life itself. And the task before the imaginative writer, whether at the end of the last century or all these aeons later, is the presentation of a vision which to eye and ear and mind has the implicit proportions of Truth.
Preface to Villa Rubein and Other Stories (1923)
„In the nineteenth century some parts of the world were unexplored, but there was almost no restriction on travel. Up to 1914 you did not need a passport for any country except Russia. The European emigrant, if he could scrape together a few pounds for the passage, simply set sail for America or Australia, and when he got there no questions were asked. In the eighteenth century it had been quite normal and safe to travel in a country with which your own country was at war.“
— George Orwell English author and journalist 1903 - 1950
"As I Please," Tribune (12 May 1944)<sup> http://alexpeak.com/twr/orwell/quotes/</sup>
„… and they watched the fire which does contain within it something of men themselves inasmuch as they are less without it and are divided from their origins and are exiles. For each fire is all fires, the first fire and the last ever to be.“
— Cormac McCarthy American novelist, playwright, and screenwriter 1933
„This is the moment which I call epiphany. First we recognise that the object is one integral thing, then we recognise that it is an organised composite structure, a thing in fact: finally, when the relation of the parts is exquisite, when the parts are adjusted to the special point, we recognise that it is that thing which it is. Its soul, its whatness, leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany.“
— James Joyce Irish novelist and poet 1882 - 1941
Context: Now for the third quality. For a long time I couldn't make out what Aquinas meant. He uses a figurative word (a very unusual thing for him) but I have solved it. Claritas is quidditas. After the analysis which discovers the second quality the mind makes the only logically possible synthesis and discovers the third quality. This is the moment which I call epiphany. First we recognise that the object is one integral thing, then we recognise that it is an organised composite structure, a thing in fact: finally, when the relation of the parts is exquisite, when the parts are adjusted to the special point, we recognise that it is that thing which it is. Its soul, its whatness, leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany.
