Colour Quotes - Page 39

• My words are little jars For you to take and put upon a shelf. Their shapes are quaint and beautiful, And they have many pleasant colours and lustres To recommend them. Also the scent from them fills the room With sweetness of flowers and crushed grasses.

  Amy Lowell

  Beautiful, Flower, Scent

  Amy Lowell (2009). “Sword Blades and Poppy Seed”, p.57, ReadHowYouWant.com

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• Most of my monsters fail altogether to satisfy my sense of the cosmic - the abnormally chromatic entity in The Colour Out of Space being the only one of the lot which I take any pride in.

  H. P. Lovecraft

  Pride, Space, Monsters

  Letter to Elizabeth Toldridge (8 March 1929), in "Selected Letters II, 1925-1929" edited by August Derleth and Donald Wandrei, (p. 316), 1968.

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• I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.

  H. P. Lovecraft

  Emotional, Two, Foundation

  Letter to August Derleth (1929), in "H.P. Lovecraft, a Life" by S.T. Joshi, (p. 307), 1996.

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• Far, far away, there is a beautiful Country which no human eye has ever seen in waking hours. Under the Sunset it lies, where the distant horizon bounds the day, and where the clouds, splendid with light and colour, give a promise of the glory and beauty which encompass it. Sometimes it is given to us to see it in dreams.

  Bram Stoker

  Beautiful, Dream, Country

  Bram Stoker (2016). “Under the Sunset: And Other Stories”, p.4, The Floating Press

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• Colour as perceived by us is a function of three independent variables at least three are I think sufficient, but time will show if I thrive.

  James Clerk Maxwell

  Independent, Thinking, Three

  James Clerk Maxwell (1990). “The Scientific Letters and Papers of James Clerk Maxwell: 1846-1862”, p.245, CUP Archive

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• Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.

  Max Beckmann

  Beautiful, Spiritual, Expression

  "On my Painting". Max Beckmann's Speech during the exhibition 'Twentieth-Century German Art', London, July 21, 1938.

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• Anyone who knows of a provable instance of colour discrimination ought always to expose it.

  George Orwell

  Discrimination, Instance, Ought

  George Orwell (1968). “The Collected Essays, Journalism, and Letters of George Orwell: As I please, 1943-1945”

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• I always urged my contemporaries to look for interest and inspiration to the development and study of drawing, but they would not listen. They thought the road to salvation lay by the way of colour.

  Edgar Degas

  Inspiration, Drawing, Looks

  Edgar Degas' remark to Walter Sickert (1885), as quoted in "Post-Impressionism and Cubism" by Walter Sickert in "Pall Mall Gazette", March 11, 1914.

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• School and things that painters have taught me even keep me from painting as I want to. I decided I was a very stupid fool not to be at least paint as I wanted to and say what I wanted to when I painted as that seemed to be the only thing I could do that didn't concern anybody but myself. I found that I could say things with colour and shapes that I couldn't say in any other way things that I had no words for.

  Georgia O'Keeffe

  Stupid, School, Shapes

  Foreword to the catalogue for the show at the Anderson Galleries in New York, 1926.

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• Violence in real life is terrible; violence in movies can be cool. It's just another colour to work with.

  Quentin Tarantino

  Real, Violence, Life Is

  1994 In the Observer,'Sayings of the Week',16 Oct.

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• The 'Women' had to do with the female painted through all ages, all those idols, and maybe I was stuck to a certain extent; I couldn't go on. It did one thing for me: it eliminated composition, arrangement, relationships, light - all this silly talk about line, colour and form - because that was the thing I wanted to get hold of.

  Willem de Kooning

  Silly, Light, Idols

  Willem De Kooning, Gagosian Gallery (2004). “De Kooning: a centennial exhibition”

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• Not only does a journey transport us over enormous distances, it also causes us to move a few degrees up or down in the social scale. It displaces us physically and also for better or for worse takes us out of our class context, so that the colour and flavour of certain places cannot be dissociated from the always unexpected social level on which we find ourselves in experiencing them.

  Claude Levi-Strauss

  Distance, Moving, Journey

  Claude Levi-Strauss (2012). “Tristes Tropiques”, p.87, Penguin

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• Men are like pillow-cases. The colour of one may be red, that of another blue, and that of the third black; but all contain the same cotton within. So it is with man; one is beautiful, another is ugly, a third holy, and a fourth wicked; but the Divine Being dwells in them all.

  Ramakrishna

  Beautiful, Men, Blue

  "Sayings of Sri Ramakrishna", p. 37, 1960.

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• He [the artist] ought to have 'these powerful organs of expression' - colour and chiaroscuro - entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of.

  John Constable

  Powerful, Character, Artist

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• With respect to the use of this sparkling coloured material (butterfly wings around 1955, fh) - the constituent parts of which remain indistinguishable - with the aim of producing a very vivid effect of scintillation, I realised that, for me, this responds to needs of the same order as those that formerly led me, in many drawings and paintings, to organize my lines and patches of colour so that the objects represented would meld into everything around them, so that the result would be a sort of continuous, universal soup with an intensive flavour of life.

  Jean Dubuffet

  Butterfly, Order, Wings

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• I want my street to be crazy, I want my avenues, shops and buildings, to enter into a crazy dance, and this is why I deform and distort their outlines and colours. However I always come up against the same difficulty, that if all the elements were one by one deformed and distorted excessively, if in the end nothing remained of their real outlines, I would have totally effaced the location that I intended to suggest, that I wished to transform.

  Jean Dubuffet

  Crazy, Real, Elements

  "Prospectus et tous écrits suivants". Book by Jean Dubuffet, Vol. II, p. 483, 1967.

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• When you grow up in that (multi-ethnic) environment, you see the world differently. Being a mixed-race child, I didn't always see colour in people, I really didn't. It was other people that made me see the colour all the time.

  Halle Berry

  Children, Growing Up, Race

  "Halle Berry Is No Stranger to Hard Work". Interview with Steven Rea, www.ocregister.com. April 14, 2007.

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• I have loved colours, and not flowers;Their motion, not the swallows wings;And wasted more than half my hoursWithout the comradeship of things.

  Arthur Symons

  Flower, Wings, Half

  Arthur Symons (1924). “The collected works of Arthur Symons”

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• For me, poetry is the colour of Elizabeth Taylor's eyes, or the pauses in Pinter's plays - only the pauses, not the words.

  Roger Lewis

  Eye, Play, Pinter

  Evening Standard, October 31, 2011.

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• I have an intensive hatred for discrimination based on colour.

  John Diefenbaker

  Hatred, Discrimination

  Maclean's, March 29, 1958.

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• 3D is great, but I just think of it as another tool, like colour or music or sound. It has the potential to add another emotional layer to certain things if you use it right. But it's not the saviour [of the movies], the be all and end all, the reason to do something.

  Tim Burton

  Emotional, Thinking, Sound

  Interview with Marc Lee, www.telegraph.co.uk. March 4, 2010.

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• If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.

  Denzel Washington

  Writing, Effort, Film

  Source: www.theguardian.com

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• I don't work from drawings and colour sketches into a final painting. Painting, I think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement.

  Jackson Pollock

  Thinking, Drawing, Finals

  Elizabeth Frank, Jackson Pollock (1983). “Jackson Pollock”, Abbeville Pr

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• The range of human skin colours is quite narrow when you think about it - and I do - and subtle - beige, pink, white, tan, taup.

  Peter Greenaway

  Thinking, White, Skins

  "Fictional character: Philip Emmenthal". 8 1/2 Women, 1999.

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• I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.

  Barbara Hepworth

  Country, Moving, Inspiration

  "Voicing Our Visions: Writings by Women Artists". Book by Mara R. Witzling, 1991.

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