Pictures Quotes - page 56
The plurality that we perceive is only an appearance; it is not real. Vedantic philosophy... has sought to clarify it by a number of analogies, one of the most attractive being the many-faceted crystal which, while showing hundreds of little pictures of what is in reality a single existent object, does not really multiply that object.
Erwin Schrödinger
Now at least 'artists have the upper hand' in the town (Vitebsk). They get totally engrossed in their disputes about art (between constructivists and suprematists), I am utterly exhausted and 'dream' of 'abroad'... After all, there is no more suitable place for artists to be (for me, at least) than at the easel, and I dream of being able to devote myself exclusively to my pictures. Of course, little by little one paints something, but it's not the real thing.
Marc Chagall
We regard the photograph, the picture on our wall, as the object itself (the man, landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without color and even perhaps a face in reduced proportions struck them as inhuman.
Ludwig Wittgenstein
There is something about Prince William and Prince Harry that brings real modernity to the British royal family. They are also very open, human, and kind, and this is what I have tried to capture in the pictures I have taken of them as well as in my pictures of Prince William and Catherine.
Mario Testino
A study of attorneys found that the attorneys whose pictures were judged independently to be the better-looking ones were able to earn about 12% more per year than the less good-looking ones. The better-looking attorneys worked longer hours, but even when that and dozens of other variables were controlled for, the better-looking attorneys were able to bill significantly more per hour. Needless to say, the male attorneys were ranked as much less attractive than the women, increasing the gap in women's pay over men's. The bigger the gap in looks, the bigger was the gap in pay. The more time passed, the more the gap widened. Sometimes life isn't fair.
Warren Farrell
The extraordinary surprise that my first pictures provoked is unlikely to be continued. Many people saw them fifteen years ago, ten years ago. Now children see it on their computers when the computers do nothing else. The surprise is not there. The shock of novelty is not there. Therefore the unity that the shock of novelty, surprise, provided to all these activities will not continue. People will know about fractals earlier and earlier, more and more progressively. I think that the best future to expect and perhaps also the best future to hope for, is that fractal ideas will remain either as a peripheral or as a central tool in very many fields.
Benoît Mandelbrot
I've worked with Mankiewicz, Hawks, Kazan, Wyler, Wilder. I've been very fortunate. All of them work differently. I've even directed a couple of pictures, so I have respect for the work. But no matter what anyone says, it's a collaborative art form. I think the problem is that we've been contaminated by the European concept of the Auteur System. I've had movies where I bought the book, developed the script and cast the whole picture, but then the director walks in and says, "It must be a John Smith film." I think sometimes we emphasize that too much.
Kirk Douglas
![[Friedrich] ignores the use of light [and] does not strive to adjust his colors to one another or to create a harmony.. ..[but his pictures were] thought-out inventions.. (Caspar David Friedrich)](https://cdn.quotesdtb.com/img/quotes_images_webp/05/caspar-david-friedrich-harmony-1006305.webp)
When not converging on literally nothing, his pictorial schemes address objects that are either remote, like the moon, or obdurate, like the battered oak. Human figures intercept our gaze and transmit it into ineffable distance. The pictures don't give; they take. Something is drawn out of us with a harrowing effect, which Friedrich's use of color nudges toward intoxication. What at first seem to be mere tints in a tonal range combust into distinctly scented, disembodied hues: drenching purples and scratchy russets, plum.
Caspar David Friedrich
...Danny Aykroyd went his own way when I became head of Lorimar Pictures in 1987. He said, "I can't understand the head of a management company also running a studio. There's something wrong about it." I told Danny it could only work in his favor, but he laughed. He's such a straight citizen. Maybe he was right. But with no paper to haggle over, the parting was friendly. And he's such a good guy that although I haven't represented him in years, every month he sends the Blues Brothers records' royalties I'm due, or a commission on an old acting job. Sometimes the check is for $17. Doesn't matter. I love that continuity and caring and respect.
Dan Aykroyd
There was no doubt or vagueness in Lenin's mind. His were the penetrating eyes which detected the moods of the masses; the clear head which could apply and adapt well-thought-out principles to changing situations; the inflexible will which held on to the course he had mapped out, regardless of immediate consequences... It is not many years since he died, and already Lenin has become a mighty tradition, not only in his native Russia, but in the world at large. As time passes he grows greater; he has become one of the chosen company of the world's immortals. Petrograd has become Leningrad, and almost every house in Russia has a Lenin corner or a Lenin picture. But he lives, not in monuments or pictures, but in the mighty work he did, and in the hearts of hundreds of millions of workers today who find inspiration in his example and the hope of a better day.
Jawaharlal Nehru
Over Christmas we looked through boxes of family pictures and played a game we call 'Find Mom, find Mom's cigarettes.' There's one in every picture. We've got photos of her pregnant, leaning toward a lit match, and others of her posing with her newborn babies, the smoke forming a halo above our heads. These pictures gave us a warm feeling.
She smoked in the bathtub, where we'd find her drowned butts lined up in a neat row beside the shampoo bottle. She smoked through meals, and often used her half-empty plate as an ashtray. Mom's theory was that if you cooked the meal and did the dishes, you were allowed to use your plate however you liked.
David Sedaris
You advise me, too, not to stray far from the ground of experience, as I become weak when I enter the region of fiction; and you say, "real experience is perennially interesting, and to all men."I feel that this also is true; but, dear Sir, is not the real experience of each individual very limited? And, if a writer dwells upon that solely or principally, is he not in danger of repeating himself, and also of becoming an egotist? Then, too, imagination is a strong, restless faculty, which claims to be heard and exercised: are we to be quite deaf to her cry, and insensate to her struggles? When she shows us bright pictures, are we never to look at them, and try to reproduce them? And when she is eloquent, and speaks rapidly and urgently in our ear, are we not to write to her dictation?
Charlotte Brontë
I know thousands of people in politics, but I don't know of anybody who takes greater care in the personal side, or the human side, of relationships as Teddy and Vicki do. When I would go through challenging times in my leadership role, they would reach out to me. In fact, the two of them wrote a wonderful poem that I have in my office, with one of Teddy's pictures that they had had matted and framed and presented to me. And at various other times-the loss of my father-Teddy called a couple of times, but it seems that just about any time anybody goes through a difficult time in their life, one of the first calls they're going to get is from Teddy Kennedy. They've become very special in our lives, as they have in the lives of many others, and I consider them very dear friends today.
Ted Kennedy
People's memories are maybe the fuel they burn to stay alive. Whether those memories have any actual importance or not, it doesn't matter as far the maintenance of life is concerned. They are all just fuel. Advertising filler in the news paper, philosophy books, dirty pictures in a magazine, a bundle of ten-thousand-yen bills; when you feed them to fire, they are just paper. The fire isn't thinking 'oh This is Kant' or 'Oh This is Yomuri evening edition' or 'Nice tits', while it burns. To the fire, they are nothing but scraps of paper. It is the exact same thing. Important memories, not-so-important memories, totally useless memories : there is no distinction - they are all just fuel.
Haruki Murakami
With regard to the principle [of using symbols to represent sounds], it matters little whether the symbol is an elaborately detailed picture, a slightly stylized drawing, or a drastically abbreviated symbol of essentially abstract form. What is crucial is to recognize that the diverse forms perform the same function in representing sound. To see that writing has the form of pictures and to conclude that it is pictographic is correct in only one sense -- that of the form, but not the function, of the symbols. We can put it this way:.
John DeFrancis
I'll do all the announcements that you would have heard. Please turn off your cell phones. You can take pictures but turn off the flash. That's stupid, because it's not-- You know when you're watching the World Series and there's all that-- Like your flash is lighting Yankee Stadium. Just leave your flash off. Don't yell out during the show. If you have something you want to say to me... This is what we do. We write it down and then you go outside in the lobby and then you go home and you f-yourself because, that's selfish. This is a rhetorical performance. It's got nothing to do with you. Don't text or twitter during the show. Just live your life. Don't keep telling people what you're doing.
Louis C.K.
Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean' . I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean.. .I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.
Piet Mondrian
His great object was to obtain the glitter and sparkle of nature after a shower; and for this purpose, passing by the oak and elm, our two first trees, he took the white poplar and the ash - the one for the leaf, the other for the bark. This I had from himself, and it is a key to his pictures. A French paysagiste [landscape-painter] once came from Paris to request him to show him his method of painting. Constable said he should have been most happy to meet his wishes, but that unfortunately he had no method, and got his pictures up he did not know how. This I had from Mr. Field, who was present.
John Constable
He had his colours from Field, who was celebrated for his madders, which he used freely, as well as ultramarine. The madder and blue form a purple, and his clouds are purple instead of grey; but time may improve them in this respect. In his early pictures, where I consider he is true to nature as regards colour, he employed vermilion and light red.
John Constable
His glance commanded in an instant all that was novel in [a] scenery, and a few outlines on paper recorded it unintelligibly to others. He placed these pictorial memoranda upon mill-board, not larger than a sheet of letter-paper, quite a confused mass. How he worked out the details from such sketches seemed to me wonderful. His views around Plymouth, in the engravings from his pictures, were marvelously varied in effect, as well as faithful representations. His first sketches showed little of the after-picture to the unpracticed eye; perhaps he bore much away in memory, and these were only a kind of shorthand, which he deciphered in his studio.
J. M. W. Turner
