Quotes of All Topics . Occasions . Authors
I was conscious of being wordy as a child. I was a terrible talker. I memorised the Latin names of flowers at five; I was shown off as a freak. My father encouraged me to be wordier than I was: he'd been a street orator at the time of Mosley, and his ideal primary concert speech was Henry V's speech before Harfleur.
The great theme of modern British history is the fate of freedom. The 18th century inherits, after the Civil War, this very peculiar political animal. It's not a democracy, but it's not a tyranny. It's not like the rest of the world, the rest of Europe. There is a parliament, laws have to be made, elections are made.
Many of Bonnard's later paintings are shot through with a powerful sense of morbidity. The self-portraits he painted after catching sight of himself in the various mirrors in the house - the mirror in the bathroom or the mirror in his bedroom, still lit from above by a single accusatory light bulb - are almost appallingly raw.
Growing up in Britain as a rather loose Jew, the two things that didn't belong together were freedom and religious intensity. In America, they do. The Founding Fathers made a bet that if you didn't force everyone to profess religion in their own particular way, you could protect intellectual freedom, and religion would flourish.
Landscapes are culture before they are nature; constructs of the imagination projected onto wood and water and rock. It is... difficult to think of a single natural system that has not, for better or worse, been substantially modified by human culture. The cultural habits of humanity have always made room for the sacredness of nature.
The edge of a painting is its frontier... where the artist negotiates his boundaries with the real world... where art begins and ends and where the eye enters and leaves the image. It determines, in an infinitely subtle number of ways, how you read a painting - which, unlike a book or a piece of music, has no pre-determined beginning or end.
Modernism had two great wishes. It wanted its audience to be led toward a recognition of the social reality of the sign (away from the comforts of narrative and illusionism, was the claim); but equally it dreamed of turning the sign back to a bedrock of World/Nature/Sensation/Subjectivity which the to and fro of capitalism had all but destroyed.
From the days of the Founding Fathers, right to this (2008) election, how and where America fights to defend its freedom, has been the ultimate question in its politics. The one that triggers rage and sorrow; the one that asks is the price of blood too dear? Or, if it is to stay true to its convictions, does America have no coice but to put its lives on the line?
Style is, above all, a system of forms with a quality and a meaningful expression through which the personality of the artist andthe broad outlook of a group are visible,... communicating and fixing certain values of religious, social, and moral life through the emotional suggestiveness of forms. It is, besides, a common ground against which innovations and individuality of particular works may be measured.
Taxation, the very thing that had triggered the British civil wars, would do so again, this time in America. The taxes may have been different, but the result would once again be disaster. What happened in America was really round two of those wars - the civil war of the British Empire, with the Hanoverians playing the part of the Stuarts, and the Americans the heirs of the revolutionaries, of Cromwell and of William III, the inheritors of a true British liberty, that had somehow got lost in its own motherland.