Vertical Quotes - page 2
We could not do it in the way he meant. But from the Rue Lamarck to the Rue Ravignan, the attempt [prétention] to imitate an orb on a vertical plane, or to indicate by a horizontal straight line the circular hole of a vase placed at the height of the eyes was considered as the artifice of an illusionistic trickery that belonged to another age.
Jean Metzinger
The world took a shape which he could grasp, though he could not comprehend it. Above him, on both sides, below him, as far as he could see, bodies floated. They were arranged in vertical and horizontal rows. The up-and-down ranks were separated by red rods, slender as broomsticks, one of which was twelve inches from the feet of the sleepers and the other twelve inches from their heads. Each body was spaced about six feet from the body above and below and on each side.
The rods came up from an abyss without bottom and soared into an abyss without ceiling. That grayness into which the rods and the bodies, up and down, right and left, disappeared was neither the sky nor the earth. There was nothing in the distance except the lackluster of infinity.
Philip José Farmer
Duckbills were supposedly croc-style swimmers, moving by strong, easy, side-to-side flexures of their tail. Therefore, the optimal design would feature vertical tail spines. But duckbill spines all slanted strongly backward, exactly as in land-living lizards, not in swimmers.
Another problem in the duckbill's swimming equipment lies in the profile of the tail. The deepest part of the croc's tail is close to the end, because the end swings through a wider arc than does the base in moving side to side. Thus the tail is deepest where it can do the most good in pushing against the water. All powerful tail-scullers have such deep tail ends. But duckbill tails were deepest at the hips and become progressively narrower from top-to-bottom toward the tip - another caudal feature nearly totally maladapted for its primary function.
Robert T. Bakker
When I started doing the 'Bursts' [paintings Gottlieb started c. 1958] I began to do part of the painting horizontally. It was necessary to do that because I was working with a type of paint which had a particular viscosity, which flowed, and if it were on a vertical surface it would just run. If it were on a horizontal surface, I could control it... I was using a combination of brushes and knives, palette knives... and spatulas... I've tried everything, rollers, rags, I've put paint on with everything.
Adolph Gottlieb
Sylvester: When was it that you first did a painting with one or two simple lines, horizontal or vertical, across the surface?
Newman: I would say that it began in '46- '47. In those years, whenever I did a painting with one or two elements in it, it did always have a sense of an atmospheric background, I suppose - with the exception of a painting which I called Euclidian Abyss, where the background is black and has some of the white coming through, but there's no true atmosphere.
Barnett Newman
With vertical thinking one may look for different approaches until one finds a promising one. With lateral thinking one goes on generating as many approaches as one can even after one has found a promising one. With vertical thinking one is trying to select the best approach but with lateral thinking one is generating different approaches for the sake of generating them.
Edward de Bono
I was attracted to the concept of Hollywood and the lifestyle here. But I've grown to mistrust it because it has changed. I didn't bargain for digital access parking in some concrete structure. Real heaven for me was to drive somewhere and park right in front. Now the city is going vertical.
Edward Ruscha
I wished to find out whether a similar bright line could be seen in the spectrum of sunlight as in the spectrum of lamplight, and I found, with the telescope, instead of this, an almost countless number of strong and feeble vertical lines which, however, were darker than the other parts of the spectrum, some appearing to be almost perfectly black.
Joseph von Fraunhofer
On the top of the wall lay a structure of burnt brick, about a foot and a half in height, under the tiles and projecting like a coping. ...when the tiles on the roof are broken or thrown down by the wind so that rain-water can leak through, this burnt brick coating will prevent the crude brick from being damaged, and the cornice-like projection will throw off the drops beyond the vertical face, and thus the walls, though of crude brick structure, will be preserved intact.
Vitruvius
If the intensity of the material world is plotted along the horizontal axis, and the response of the human mind is on the vertical, the relation between the two is represented by the logarithmic curve. Could this rule provide a clue to the relationship between the objective measure of information, and our subjective perception of it?
Hans Christian von Baeyer
It's been on my mind – what would something be like if it were unbalanced? It's been a vexing question for a long time. But it took the experience of working with radical kinds of symmetry, not just a rectangle, but a diamond shape, as well as extreme extensions of shapes, before I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel. I came to the fact that unbalancing has its own order. In a peculiar way, it can still end up feeling symmetrical. I don't know but what the very nature of our response to art is experienced symmetrically.
Kenneth Noland
[the 'Surfboards' - series works Noland made mid-70's] were almost like cut-out figures without being figurative... I think of them, in some way, as being like figures; they remind me of figures in vertical Cubist paintings. Even the small pictures have that kind of human proportion in the rectangles. It's not exactly a reference, but the relation of length to width in the rectangles is like a person.
Kenneth Noland
