Grey Quotes - page 3
The White Company offers its loyalists an altogether better, whiter world. The White people have edited out any colours that aren't white, off-white, milk chocolate, grey, taupe or black. They can't be doing with Johnnie Boden's cheery Sloane jokes, his spots and stripes, his occasional 'if it's me, it's U' loud colours.
Peter York
My feet they are sore, and my limbs they are weary;
Long is the way, and the mountains are wild;
Soon will the twilight close moonless and dreary
Over the path of the poor orphan child.Why did they send me so far and so lonely,
Up where the moors spread and grey rocks are piled?
Men are hard-hearted, and kind angels only
Watch o'er the steps of a poor orphan child.Yet distant and soft the night breeze is blowing,
Clouds there are none, and clear stars beam mild,
God, in His mercy, protection is showing,
Comfort and hope to the poor orphan child.Ev'n should I fall o'er the broken bridge passing,
Or stray in the marshes, by false lights beguiled,
Still will my Father, with promise and blessing,
Take to His bosom the poor orphan child.There is a thought that for strength should avail me,
Though both of shelter and kindred despoiled;
Heaven is a home, and a rest will not fail me;
God is a friend to the poor orphan child.
Charlotte Brontë
[Most people] are neither extraordinarily silly, nor extraordinarily wicked, nor extraordinarily wise; their eyes are neither deep and liquid with sentiment, nor sparkling with suppressed witticisms; they have probably had no hairbreadth escapes or thrilling adventures; their brains are certainly not pregnant with genius, and their passions have not manifested themselves at all after the fashion of a volcano. ... Depend upon it, you would gain unspeakably if you would learn with me to see some of the poetry and the pathos, the tragedy and the comedy, lying in the experience of a human soul that looks out through dull grey eyes, and that speaks in a voice of quite ordinary tones.
George Eliot
I am hard at work, at least I work as much as the weather permits. - I began a work the motif of which is the river bank in the direction of St. Paul's Church. Looking towards Rouen I have before me all the houses on the quays lighted by the morning sun, in the background the stone bridge, to the left the island with its houses, factories, boats, launches, to the right a mass of pinnaces of all colors.. .Yesterday, not having the sun, I began another work on the same motif in grey weather, only I looked more to the right [603]. I must leave you for my motif. I have a room on the street. I shall start on a view of the street in fog for it has been foggy every morning until eleven o'clock-noon. It should be interesting, the square in the fog, the tramways, the goings and comings..
Camille Pissarro
Oh dear and laughing, lost to me,
Hidden in grey Eternity,
I shall attain, with burning feet,
To you and to the mercy-seat!
The ages crumble down like dust,
Dark roses, deviously thrust
And scattered in sweet wine - but I,
I shall lift up to you my cry,
And kiss your wet lips presently
Beneath the ever-living Tree.
Stephen Vincent Benét
My first concert - apart from Beethoven at School and Erik Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. 'Heal like with like' – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning.... or simply a revolutionary act. This was my first public Fluxus appearance.
Joseph Beuys
White
This is the spiritual colour of our times, the clearness which directs all our actions. It is neither grey nor ivory white, but pure white.
White This is the colour of modern times, the colour which dissipates a whole era; our era is one of perfection, purity and certitude.
White It includes everything. We have superseded both the 'brown' of decadence and classicism and the 'blue' of divisionism, the cult of the blue sky, the gods with green beards and the spectrum.
White pure white...
Theo van Doesburg
I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition... I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey... I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel.... joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke.
Max Pechstein
Towards the end of 1958, I greatly increased.. ..the works done with what is called poor material. I felt the need to persist and go deeper with the entire message of what is insignificant, worn or dramatised by time.. .In fact, it was the most conscious resumption of subjects that had often attracted me. In my research, I had discovered this material, one I find loaded with strange suggestions, which is cardboard. A grey, anonymous material that won't be easily manipulated, for which very reason the slightest mark of the hand torments it and destroys it. But the piece of cardboard, the box, the lid, the tray.. ..dirty clothes (socks, T-shirt, underpants...), old furniture, everyday objects; not used as a representation or theme in the picture but as real bodies, objects.
Antoni Tàpies
It was no accident that I found my way to Götz at the time [c. 1960-62]. This 'Informal' element runs through every picture I've painted, whether it's a landscape, or a family painted from a photograph, or the Colour Charts or a Grey picture. And so now it is a pursuit of the same objectives by other means.. .As I now see it, all my paintings are 'Informal'.. ..except for the landscapes, perhaps.. .The 'Informal' is the opposite of the constructional quality of classicism – the age of kings, of clearly formed hierarchies.
Gerhard Richter
