Title Quotes - page 6
From the nature and purpose of civil institutions, all the lands within the limits which any particular society has circumscribed around itself are assumed by that society, and subject to their allotment only. This may be done by themselves, assembled collectively, or by their legislature, to whom they may have delegated sovereign authority; and if they are alloted in neither of these ways, each individual of the society may appropriate to himself such lands as he finds vacant, and occupancy will give him title.
Thomas Jefferson
I deplore with you the putrid state into which our newspapers have passed, and the malignity, the vulgarity, & mendacious spirit of those who write for them: and I enclose you a recent sample, the production of a New England judge, as a proof of the abyss of degradation into which we are fallen. These ordures are rapidly depraving the public taste and lessening its relish for sound food. As vehicles of information and a curb on our functionaries, they have rendered themselves useless by forfeiting all title to belief. That this has in a great degree been produced by the violence and malignity of party spirit I agree with you...
Thomas Jefferson
Titles are but nick-names, and every nickname is a title. The thing is perfectly harmless in itself, but it marks a sort of foppery in the human character, which degrades it. It reduces man into the diminutive of man in things which are great, and the counterfeit of women in things which are little. It talks about its fine blue ribbon like a girl, and shows its new garter like a child. A certain writer, of some antiquity, says: "When I was a child, I thought as a child; but when I became a man, I put away childish things."
Thomas Paine
But one day, some painter used 'Abstraction' as a title for one of his paintings. It was a still life. And it was a very tricky title. And it wasn't really a very good one. From then on the idea became something extra. Immediately it gave some people the idea that they could free art from itself. Until then, Art meant everything that was in it – not what you could take off it. There was only one thing you could take out of it sometime when you were in the right mood – that abstract and indefinable sensation, the aesthetic part – and still leave it were it was...
Willem de Kooning
This accessible production [of Don Giovanni - ed. ] concentrates on the comic delights of the piece and rests heavily on the roguish charms of Vytautas Juozapaitis in the title role. Indeed, he's so delightfully decadent, and so charismatic a performer, that the righteous indignation of those he has harmed makes them seem priggish in comparison.
Vytautas Juozapaitis
In the pivotal title role (Rigoletto - ed.), Vytautas Juozapaitis - fondly remembered for his marvelous performance of the title role in Mozart's "Don Giovanni" with the Lirico here in 2003 - sang with a dark, commanding, tragedy-tinged baritone that vividly conveyed the character's flawed humanity and despair. And he masterfully delivered the role's two big arias.
Vytautas Juozapaitis
History has now confronted us with an immediate task which is the most revolutionary of all the immediate tasks confronting the proletariat of any country. The fulfilment of this task, the destruction of the most powerful bulwark, not only of European, but (it may now be said) of Asiatic reaction, would make the Russian proletariat the vanguard of the international revolutionary proletariat. And we have the right to count upon acquiring this honourable title, already earned by our predecessors, the revolutionaries of the seventies, if we succeed in inspiring our movement, which is a thousand times broader and deeper, with the same devoted determination and vigour.
Vladimir Lenin
Towards Livia, too, exorbitant was the flattering court of the Senate. Some were for decreeing her the general title of Mother; others the more particular one of Mother Of Her Country; and almost all moved, that to the name of Tiberius should be added, The Son Of Julia: Tiberius urged in answer, that "public honours to women ought to be warily adjudged, and with a sparing hand; and that with the same measure of moderation he would receive such as were presented to himself."
Tiberius
If you only notice human proceedings, you may observe that all who attain great power and riches, make use of either force or fraud; and what they have acquired either by deceit or violence, in order to conceal the disgraceful methods of attainment, they endeavor to sanctify with the false title of honest gains. Those who either from imprudence or want of sagacity avoid doing so, are always overwhelmed with servitude and poverty; for faithful servants are always servants, and honest men are always poor; nor do any ever escape from servitude but the bold and faithless, or from poverty, but the rapacious and fraudulent. God and nature have thrown all human fortunes into the midst of mankind; and they are thus attainable rather by rapine than by industry, by wicked actions rather than by good. Hence it is that men feed upon each other, and those who cannot defend themselves must be worried.
Niccolò Machiavelli
If in the present work I have dwelt at some length on the worship of trees, it is not, I trust, because I exaggerate its importance in the history of religion, still less because I would deduce from it a whole system of mythology; it is simply because I could not ignore the subject in attempting to explain the significance of a priest who bore the title of King Of the Wood, and one of whose titles to office was the plucking of a bough - the Golden Bough.
James Frazer
The first painting to appear with an affirmation of simultaneity was mine and had the following title: 'Simultaneous visions', [Boccioni painted in 1911]. It was exhibited in the galerie Bernheim in Paris, and in the same exhibition my Futurist painter friends also appeared with similar experiments in simultaneity.
Umberto Boccioni
My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.
Karel Appel
