![I began [to portray president Kennedy ] with fragmentary sketches-first in charcoal, then in casein, sometimes just heads, sometimes the whole figure. For the first session (during a Medicare conference), I sat on top of a 6-foot ladder to get an unimpeded view of him. Concentrating on bone structure, most of my first sketches of him made him look twenty years younger. This was also because the positions he assumed were those of a college athlete. I made about thirty sketches at the first session and rushed back to a big studio that had been turned over to me by the Norton Gallery, made further drawing combining different aspects, and finally, after a couple days, decided on the proportions and size of the first canvas-4 by 8 feet. In succeeding sessions of sketching, I was struck by the curious faceted structure of light over his face and hair-a quality of transparent ruddiness. This play of light contributed to the extraordinary variety of expressions. (Elaine de Kooning)](https://cdn.quotesdtb.com/img/quotes_images_webp/65/elaine-de-kooning-athlete-953665.webp)
I began [to portray president Kennedy ] with fragmentary sketches-first in charcoal, then in casein, sometimes just heads, sometimes the whole figure. For the first session (during a Medicare conference), I sat on top of a 6-foot ladder to get an unimpeded view of him. Concentrating on bone structure, most of my first sketches of him made him look twenty years younger. This was also because the positions he assumed were those of a college athlete. I made about thirty sketches at the first session and rushed back to a big studio that had been turned over to me by the Norton Gallery, made further drawing combining different aspects, and finally, after a couple days, decided on the proportions and size of the first canvas-4 by 8 feet. In succeeding sessions of sketching, I was struck by the curious faceted structure of light over his face and hair-a quality of transparent ruddiness. This play of light contributed to the extraordinary variety of expressions.
Elaine de KooningRelated topics
athlete begin big bone casein charcoal college combining conference couple decided different drawing extraordinary face feet figure gallery ladder light play president quality ruddiness sat session size sketching strike structure studio succeeding thirty top twenty variety view years kennedy younger days medicare 6-foot heads norton proportions sessionsRelated quotes
Floating around the Internet these days, posted and e-mailed back and forth, are a number of writings attributed to me, and I want people to know they're not mine. Don't blame me.Some are essay-length, some are just short lists of one and two-line jokes, but if they're flyin' around the Internet, they're probably not mine. Occasionally, a couple of jokes on a long list might have come from me, but not often. And because most of this stuff is really lame, it's embarrassing to see my name on it.And that's the problem. I want people to know that I take care with my writing, and try to keep my standards high. But most of this "humor" on the Internet is just plain stupid. I guess hard-core fans who follow my stuff closely would be able to spot the fake stuff, because the tone of voice is so different. But a casual fan has no way of knowing, and it bothers me that some people might believe I'd actually be capable of writing some of this stuff.
George Carlin
It was on his return journey that Pao-yü's father heard of the success and disappearance of his son. Torn by conflicting emotions he hurried on, in his haste to reach home and aid in unravelling the secret of Pao-yü's hiding-place. One moonlight night, his boat lay anchored alongside the shore, which a storm of the previous day had wrapped in a mantle of snow. He was sitting writing at a table, when suddenly, through the half-open door, advancing towards him over the bow of the boat, his silhouette sharply defined against the surrounding snow, he saw the figure of a shaven-headed Buddhist priest. The priest knelt down, and struck his head four times upon the ground, and then, without a word, turned back to join two other priests who were awaiting him. The three vanished as imperceptibly as they had come; before, indeed, the astonished father was able to realise that he had been, for the last time, face to face with Pao-yü!
Herbert Giles
The approach that dominates organizational theory, teaching, and practice for most of the twentieth century looked at organizations from the top-down, starting with a view of the CEO as the "leader" who shapes the organization's strategy, structure, culture, and performance potential. The nature of work and the role of the workforce enter the analysis much later, after considerations of technology and organization design have been considered. However, if the key source of value in the twenty-first-century organization is to be derived from the workforce itself, an inversion of the dominant approach will be needed. The new perspective will start not at the top of the organization, but at but at the front lines, with people and the work itself - which is where value is created. Such an inversion will lead to a transformation in the management and organization of work workers, and knowledge. This transformation was signalled by McGregor, but we must go further.
Douglas McGregor
I was overjoyed when I was taken to a show of the American Abstract Artists Group in '37. They were all alive and they were American! My escort further interested me when he told me the two best abstract artists in America were not in the show - Arshile Gorky and Willem de Kooning, whom I met a couple of months later - when I began to study with him [with Willem de Kooning]. When Miss Nochlin says, 'What is important is that women face up to the reality of their history,' well, the point is, artists are always choosing their history from day to day and their history follows them as much as it precedes them. Were American artists 'facing up to the reality of their history' when they turned to the School of Paris or to German Expressionism or Dada or Surrealism or de Stijl or the Bauhaus instead of to Copley, Peale, Eakins, Blake or Ryder; was Picasso facing up to the reality of his history when he was snooping around African art for inspiration?
Elaine de Kooning
When I look at this as a proposal [i. e. British entry into the Common Market], it is really an extraordinary change. We used to put the Commonwealth first. It is quite obvious now that the Commonwealth comes second. We are going to be closer friends with the Germans, the Italians and the French than we are with the Australians or the Canadians. People are talking about what will happen thirty years hence: but, you know, twenty years ago I should never have imagined that we would be putting, as close friends, the Germans in front of the Canadians, the Australians, the New Zealanders, the Indians or anyone else. That does make for an entire revolution. It is also an entire revolution in the historic position of this country. I am not putting it forward that necessarily old things are right: I should be showing my age too clearly if I did that. It may be they are right; but make no mistake: this is an enormous change.
Clement Attlee
