Picture Quotes - page 36
What wonderful things [Renoir is reacting on Corot's painting 'Interior of Chartres Cathedral' and Delacroix's 'Interior of M. de Mornay's house', – he saw in 1919 from his wheelchair, in the reopened painting-rooms of the Louvre]. There isn't a single big picture worth any more than these two little ones... The Director [of the Louvre] was so charming to me. I wish I could have thanked him properly. If you meet him, tell him how much I enjoyed my visit. If I'd presented myself at the Louvre in my wheelchair thirty years ago, they'd have shot me out fast enough! You see, one has to live a long time to see such changes. I've been one of the lucky ones.
Pierre-Auguste Renoir
I went to see this picture [Raphael's painting 'Madonna della Sedia' which Renoir saw in Florence in 1882] just to have a good laugh – and I found myself in front of the most wonderfully free, solid, simple, alive painting it is possible to imagine – arms and legs of real flesh, and what a touching expression of maternal tenderness.
Pierre-Auguste Renoir
One sunny spring day I heard the music coming down Karl Johan [street] and it filled me with joy. The spring, the sun, the music, all blended together to make me shiver with pleasure. The music added colour to the colours. I painted the picture [his painting 'Music on Karl Johan'] allowing the colours to reverberate with the rhythm of the music. I painted the colours as I saw them at that moment.
Edvard Munch
Goethe as an old man: he was so very punctual. At that time he also wrote many things that were very punctual. The rounded thing is boring. Turn it as you may, it remains round and pretty.
I love the edges, the sharp lines, and fractures.
I show to him a picture of Dostoevsky. How ruptured, furrowed, tormented!
He looks like Michelangelo; the face of an endurer and a prophet.
Joseph Goebbels
There's a time in your life where you're not quite sure where you are. You think everything's perfect, but it's not perfect... Then one day you wake up and you can't quite picture yourself in the situation you're in. But the secret is, if you can picture yourself doing anything in life, you can do it.
Tom DeLonge
Pat Gray: How would you handle a situation like the one that just developed in North Korea?Sarah Palin: Well, North Korea, this is stemming from a greater problem, when we're all sitting around asking, "Oh no, what are we going to do" and we're not having a lot of faith that the White House is going to come out with a strong enough policy to sanction what it is that North Korea's gonna do. So this speaks to a bigger picture that certainly scares me in terms of our national security policy. But obviously, we've got to stand with our North Korean allies. We're bound to by treaty. We're also bound to by-Steve Burguiere: South Korean.Palin: Yes, and we're also bound by prudence to stand with our South Korean allies, yes.
Sarah Palin
What we kids didn't understand was that we were living in a commercial, commodity culture. Everything in our environment had been bought and sold. As middle class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.
Robert Crumb
Hitherto he has found in Western music, in Bach above all, everything he needs. Now he encounters something that is not in Bach, though there are intimations of it: a joyous yielding of the reasoning, comprehending mind to the dance of the fingers. He hunts through record shops, and in one of them finds an LP of a sitar player named Ustad Vilayat Khan, with his brother - a younger brother, to judge from the picture - on a veena, and an unnamed tabla player. He does not have a gramophone of this own, but he is able to listen to the first ten minutes in the shop. It is all there: the hovering exploration of tone-sequences, the quivering emotion, the ecstatic rushes. He cannot believe his good fortune. A new continent and all for a mere nine shillings! He takes the record back to his room, packs it away between sleeves of cardboard till the day he will able to listen to it again.
J. M. Coetzee
[T]his film offers a nightmare image: the "Black Rebels," an outlaw motorcycle gang - a leather-jacketed pack who resemble storm troopers - terrorize a town. Their emblem is a death's head and crossed pistons and rods, and Marlon Brando, in his magnetic, soft-eyed youth, is their moody leader. The picture seemed to be frightened of its subject - the young nihilists who say "no" to American blandness and conformity - and reduced it as quickly as possible to the trivial meaninglessness of misunderstood boy meets understanding girl (Mary Murphy), but the audience savored the possibilities, and this clumsy, naive film was banned and argued about in so many countries that it developed a near-legendary status.
Pauline Kael
One of the biggest box-office successes in movie history - probably because for young audiences it's like getting a box of Cracker Jack that is all prizes. Written and directed by George Lucas, the film is enjoyable in its own terms, but it's exhausting, too: like taking a pack of kids to the circus. There's no breather in the picture, no lyricism; the only attempt at beauty is in the image of a double sunset. The loudness, the smash-and-grab editing, and the relentless pacing drive every idea out of your head, and even if you've been entertained, you may feel cheated of some dimension - a sense of wonder, perhaps. It's an epic without a dream.
Pauline Kael
