Leonardo Quotes - page 2
![The belief that science destroys culture is sometimes supported by historical statements that the arts have flourished only when the sciences have been neglected. This thesis is... directly contrary to history... [I]n the great age of Greece, art and science penetrate one another more closely than in any modern age. ...The example of these men in science as much as in art set the modern world afire in the Renaissance. And the type and symbol of Renaissance man... remains Leonardo da Vinci, painter, sculptor, mathematician, and engineer. No man has shown more strikingly the universality and the unity of the intellect. (Jacob Bronowski)](https://cdn.quotesdtb.com/img/quotes_images_webp/71/jacob-bronowski-age-art-266171.webp)
I was behind a woman at the checkout counter who was looking at the magazines. She turned to me and goes, 'There he is again, that Leonardo DiCaprio. Don't you wish he'd just disappear?' I said, this is the moment where I either go, 'Do you know who I am?' or put my hat further down, pay for my corn-nuts and get out of there.... I choose to avoid that.
Leonardo DiCaprio
My God, no! I hate this whole hunk thing! I feel when I see myself in that, and these other cute faces, that I'm just part of this meat factory, like, 'Wow! Here's the hunk of the month! This month we're shoving Leonardo DiCaprio down your throat! Isn't he cute. Let's put him on the cover and we'll sell so many more magazines...' That's definitely not what I want to be, and I've tried real hard to get away from that whole situation.
Leonardo DiCaprio
It was insane, I wish I had filmed it. It was like bringing an audience to the Mona Lisa and asking, 'Do you know why she is smiling?' 'Sorry Leonardo, you'll have to make some changes.' At least the audience understood that THX was not a love story set in the 25th century, which was the way Warners had planned to advertise it. Instead the company settled for 'Visit the future, where love is the ultimate crime.
George Lucas
.. of what use is a painting which does not realize its aesthetical problem? Underlying all sensible works of art, there must be somewhere in evidence the particular problems understood. It was so with those artists of the great past who had the intellectual knowledge of structure upon which to place their emotions. It is this structural beauty that makes the old [clssical] painting valuable. And so it becomes to me a problem. I would rather be sure that I had placed two colors in true relationship to each other than to have exposed a wealth of emotionalism gone wrong in the name of richness of personal expression... The real artists have always been interested in this problem, and you feel it strongly in the work of [Leonardo] Da Vinci, Piero della Francesca, Courbet, Pissarro, Seurat, and Cezanne.
Marsden Hartley
So if I say you that your paintings [which his brother-in-law recently made] have nothing in common with what we see generally classified and accepted, and that you have always managed to produce things that were entirely your own work, as I truly see it, that does not mean you have the right to be seated next to Leonardo -
What's more, this originality is suicidal as it distances you from a 'clientele' used to 'copies of copiers', often referred to as 'tradition'-
One more thing, your technique is not the 'expected' technique – It's your own personal technique, borrowed from nobody – and there again, this doesn't attract the clientele.... In a word, do less self-analysis and enjoy your work without worrying about opinions, your own as well as that of others.
Marcel Duchamp
The beginning of the sixteenth century, the Cinquecento, is the most famous period of Italian art, one of the greatest periods of all time. This was the time of Leonardo da Vinci and Michelangelo, of Raphael and Titian, of Correggio and Giorgione, of Dürer and Holbein in the north, and of many other famous masters. One may well ask why it was that all these great masters were born in the same period, but such questions are more easily asked than answered. One cannot explain the existence of genius. It is better to enjoy it.
Ernst Gombrich
The show is called 'Wind'. I tried here to make work which looks like wind, and it is the most difficult thing to do; I was thinking of Leonardo da Vinci – as he was, for instance, always wanting to fly. And then, this hand of Michael Jackson is like 'ffffffff', 'I'm leaving' (makes gesture with her hand and mouth in the mirror in the hallway of the gallery, mimicking the action that Jackson is depicted making on the invitation card of her show - Simon Denny). Not in a sad way, but.... in a way a little bit sad too. And then I said 'Isa Genzken', because I always liked him so much. For instance, I would always have jackets like this one. This is my favourite kind of style, and so I said 'ffff' [blowing gesture] 'Now I'm coming'... It's like 'don't be afraid, don't be sad, you know... I'm here.
Isa Genzken
Are we innately aggressive?” asked Aquinas. "Was the nuclear predicament symptomatic of a more profound depravity? Nobody knows. But if this is so-and I suspect that it is-then the responsibility for what we are pleased to call our inhumanity still rests squarely in our blood-soaked hands. The killer-ape hypothesis does not specify a fate-it lays out an agenda. Beware, the fable warns. Caution. Trouble ahead. Genocidal weapons in the hands of creatures who are bored by peace.”
"I think I'm going to throw up,” said Brat.
"But the fable went unheeded. And the weapons, unchecked. And then, one cold Christmas season, death came to an admirable species-a species that wrote symphonies and sired Leonardo da Vinci and would have gone to the stars. It did not have to be this way. Three virtues only were needed-creative diplomacy, technical ingenuity, and moral outrage. But the greatest of these is moral outrage.
James K. Morrow
I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.
John Lasseter
