Nature Quotes - page 100
This great maxim of philosophy he had gathered by the teaching of nature alone - that man was created to work, not to speculate or feel or dream. Accordingly, he set his whole heart thitherwards. He did work wisely and unweariedly, and perhaps performed more with the tools he had than any man I now know.
Thomas Carlyle
The man whom Nature has appointed to do great things is, first of all, furnished with that openness to Nature which renders him incapable of being insincere! To his large, open, deep-feeling heart Nature is a Fact: all hearsay is hearsay; the unspeakable greatness of this Mystery of Life, let him acknowledge it or not, nay even though he seem to forget it or deny it, is ever present to him,-fearful and wonderful, on this hand and on that.
Thomas Carlyle
Shall we say, for example, that Science and Art are indebted principally to the founders of Schools and Universities? Did not Science originate rather, and gain advancement, in the obscure closets of the Roger Bacons, Keplers, Newtons; in the workshops of the Fausts and the Watts; wherever, and in what guise soever Nature, from the first times downwards, had sent a gifted spirit upon the earth? Again, were Homer and Shakspeare members of any beneficed guild, or made Poets by means of it? Were Painting and Sculpture created by forethought, brought into the world by institutions for that end? No; Science and Art have, from first to last, been the free gift of Nature; an unsolicited, unexpected gift; often even a fatal one.
Thomas Carlyle
The spoken Word, the written Poem, is said to be an epitome of the man; how much more the done Work. Whatsoever of morality and of intelligence; what of patience, perseverance, faithfulness, of method, insight, ingenuity, energy; in a word, whatsoever of Strength the man had in him will lie written in the Work he does. To work: why, it is to try himself against Nature, and her everlasting unerring Laws; these will tell a true verdict as to the man.
Thomas Carlyle
Curious, if we will reflect on it, this of having no books. Except by what he could see for himself, or hear of by uncertain rumor of speech in the obscure Arabian Desert, he could know nothing. The wisdom that had been before him or at a distance from him in the world, was in a manner as good as not there for him. Of the great brother souls, flame-beacons through so many lands and times, no one directly communicates with this great soul. He is alone there, deep down in the bosom of the Wilderness; has to grow up so,-alone with Nature and his own Thoughts. But, from an early age, he had been remarked as a thoughtful man.
Thomas Carlyle
To the wild deep-hearted man all was yet new, not veiled under names or formulas; it stood naked, flashing in on him there, beautiful, awful, unspeakable. Nature was to this man, what to the Thinker and Prophet it forever is, preternatural. This green flowery rock-built earth, the trees, the mountains, rivers, many-sounding seas;-that great deep sea of azure that swims overhead; the winds sweeping through it; the black cloud fashioning itself together, now pouring out fire, now hail and rain.
Thomas Carlyle
Mark at present so much; what the essence of Scandinavian and indeed of all Paganism is: a recognition of the forces of Nature as godlike, stupendous, personal Agencies,-as Gods and Demons. Not inconceivable to us. It is the infant Thought of man opening itself, with awe and wonder, on this ever-stupendous Universe. To me there is in the Norse system something very genuine, very great and manlike. A broad simplicity, rusticity, so very different from the light gracefulness of the old Greek Paganism, distinguishes this Scandinavian System. It is Thought; the genuine Thought of deep, rude, earnest minds, fairly opened to the things about them; a face-to-face and heart-to-heart inspection of the things,-the first characteristic of all good Thought in all times. Not graceful lightness, half-sport, as in the Greek Paganism; a certain homely truthfulness and rustic strength, a great rude sincerity, discloses itself here.
Thomas Carlyle
Undue cultivation of the inward or Dynamical province leads to idle, visionary, impracticable courses, and, especially in rude eras, to Superstition and Fanaticism, with their long train of baleful and well-known evils. Undue cultivation of the outward, again, though less immediately prejudicial, and even for the time productive of many palpable benefits, must, in the long-run, by destroying Moral Force, which is the parent of all other Force, prove not less certainly, and perhaps still more hopelessly, pernicious. This, we take it, is the grand characteristic of our age. By our skill in Mechanism, it has come to pass, that in the management of external things we excel all other ages; while in whatever respects the pure moral nature, in true dignity of soul and character, we are perhaps inferior to most civilised ages.
Thomas Carlyle
The seeing eye! It is this that discloses the inner harmony of things; what Nature meant, what musical idea Nature has wrapped up in these often rough embodiments. Something she did mean. To the seeing eye that something were discernible. Are they base, miserable things? You can laugh over them, you can weep over them; you can in some way or other genially relate yourself to them; - you can, at lowest, hold your peace about them, turn away your own and others' face from them, till the hour come for practically exterminating and extinguishing them!
Thomas Carlyle
Is not every true Reformer, by the nature of him, a Priest first of all? He appeals to Heaven's invisible justice against Earth's visible force; knows that it, the invisible, is strong and alone strong. He is a believer in the divine truth of things; a seer, seeing through the shows of things; a worshipper, in one way or the other, of the divine truth of things; a Priest, that is. If he be not first a Priest, he will never be good for much as a Reformer.
Thomas Carlyle
Get, by six hundred and fifty-eight votes, or by no vote at all, by the silent intimation of your own eyesight and understanding given you direct out of Heaven, and more sacred to you than anything earthly, and than all things earthly,-a correct image of the fact in question, as God and Nature have made it: that is the one thing needful; with that it shall be well with you in whatsoever you have to do with said fact. Get, by the sublimest constitutional methods, belauded by all the world, an incorrect image of the fact: so shall it be other than well with you; so shall you have laud from able editors and vociferous masses of mistaken human creatures; and from the Nature's Fact, continuing quite silently the same as it was, contradiction, and that only. What else?
Thomas Carlyle
My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930. I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature. I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
Alexander Calder
![Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He's working with paint, not nature; he's making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify. (Roy Lichtenstein)](https://cdn.quotesdtb.com/img/quotes_images_webp/17/roy-lichtenstein-art-artist-476717.webp)
With regard to the diagonal, too, I am in complete agreement with you [with Theo van Doesburg ]. As soon as it appears together with straight [horizontal and vertical] lines, I believe it should be condemned... A while back I started a thing entirely in diamonds [diamond-shape] like this [his sketch in the letter of several diamond-forms]. I have to find out if it's possible: intellectually I'm inclined to say it is. There's something to be said for the idea, because perpendicular and flat lines can be seen everywhere in nature; by using a diagonal line I would be canceling that out. But I'm inclined to say that this cannot be combined with perpendicular and flat lines or with different kinds of slanting lines.
Piet Mondrian
And then about whether or not to work from a given in nature. In my view, you [ Van Doesburg ] define this in a rather narrow sense. In the main, I do agree with you that the destruction of the natural, and it reconstruction, must be accomplished according to a spiritual image, but I believe that we should take a broad view here. What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky ['Composition, Checkerboard Dark Colours', 1919] and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.
Piet Mondrian
For when I construct lines and colour combinations on a flat surface, it is with the aim of portraying 'universally beauty' as consciously as possible. Nature (or that which I see) inspires me, provides me – as it does every painter – with the emotion by which I am moved to create something, but I want to approach the truth as closely as possible, abstracting everything until I come to the foundation – still only an outward foundation! – of things. It is for me a clear truth that one does not want to say something 'specific', it is then that one says what is most specific: the truth (which is of great universality).
Piet Mondrian
