People From Manchester

"Since then I have endeavoured, by precept and by example, to preach the doctrine of Impressionism, particularly in England, where it is so little known and appreciated."

"Although the great revolution of 1793 changed the whole face of France both politically and socially, it failed to emancipate the twin arts of painting and literature. In each case one tradition was succeeded by another, and nearly forty years elapsed before the new spirit completely broke through the barriers set up by a past generation."

"The world of art was less fortunate. Many of the younger men barely lived through the first flush of youth. Destroying Death is the worst enemy to the arts."

"Ingres, a pupil of David, taught his students that draughtsmanship was of more importance than colour. " A thing well drawn," he said, " is always well enough painted.""

"From the earliest days of my pupilage to art I had been instinctively drawn towards the paintings of Turner, Corot, Constable, Bonington, and Watts, with an intense admiration for their manner in viewing, and methods of re-creating, nature upon their canvases ; and in later years I had been fascinated by the works of more modern artists, such as La Thangue, , Edward Stott, and Robert Meyerheim."

"Those Englishmen who are taunted with following the methods of the French Impressionists, sneered at for imitating a foreign style, are in reality but practising their own, for the French artists simply developed a style which was British in its conception."

"I remember distinctly, during the summer of 1901, at Les Andelys-on-Seine, that upon two days and for two hours in the afternoons of those days all Nature, animate and inanimate, bore the aspect of things seen under a strong glare of violet light, exactly as though a tinted glass were suspended between the sun's rays and the earth. The effect was most curious and disturbing. Nature appears to be toneless and flat. Highlights and shadows are attenuated almost to extinction, whilst in this dull purple glare the heat became more intense than ever, possibly through lack of wind, for all was still."

"I see lots of people everywhere, one lot going one way and the other lot going in the opposite way, as a rule."

"Without knowing what it was, I had an instinctive feeling that the time had come to drop industrials (paintings) .Now I feel more strongly than ever that the figures stand on their own two feet."

"All my life I have felt most strongly against social distinction of any kind. I have at all time tried to paint to the best of my ability and would only hope that any remembrance of me when I'm am gone will be base on my work."

"I don't pretend to be a gentleman, but I am entitled to paint what I see"

"A street is not a street without people..the composition was incidental to the people."

"I look upon human beings as automatons..because they all think they can do what they want but they can't.They are not free.No one is"

"An artist can't produce great art unless he has a philosophy.He can't say something unlee he has something to say."

"I am not an artist just someone who paints."

"You don't need brains to be a painter, just feelings"

"You cannot teach painting because everyone's colour sense is different. But drawing..you either get it right or wrong. You can tell whether people have drawn from life from their pictures."

"I've a one track mind, sir. Poverty and gloom. Never a joyous picture of mine you'll see.Always gloom. I never do a jolly picture."

"I don't care tuppence for what they do in London in the art world. It doesn't matter to me. I don't think of it. All I am concerned with is doing my own thing in my own way.. as well as I can."

"He’s posed for photos, spoke to the press While his coroner’s officers suffer with stress. He’s more famous than the Spice Girls, he’s been on TV, He might even make a record under the name of Monty B."

"Sinking faster than a boat without a hull."

"Eyes open wide, looking at the heavens with a tear in my eye."

"Yes, there's love if you want it. Don't sound like no sonnet, my lord."

"And with a drugstore wife, I was dealing, sold a bit of the white, I don't shake no hands 'cause death has no fans."

"Cause it's a bitter sweet symphony, that's life Try to make ends meet you're a slave to money then you die.No change, I can change I can change, I can change But I'm here in my mold I am here in my mold and I'm a million different people from one day to the next I can't change my mould, no, no, no, no, no..."

"I wander lonely streets behind where the old Thames does flow And in every face I meet reminds me of what I have run for"

"You know the one that takes you to the places where all the veins meet, yeah."

"A coroner must be humane, fair and fearless in obtaining the truth. That is why I have put my head above the parapet."

"It’s just sex and violence, melody and silence."

"If trees cut stars and eyes to heaven I'll bend them back, I'll bend them again If my skin looks tired and old from living I'll turn right back and live it again"

"Both parties to the dispute agree that one of the primary aims of the state should be to respect and preserve the liberty of its individual citizens. One side argues that the state can hope to redeem this pledge simply by ensuring that its citizens do not suffer any unjust or unnecessary interference in the pursuit of their chosen goals. But the other side maintains that this can never be sufficient, since it will always be necessary for the state to ensure at the same time that its citizens do not fall into a condition of avoidable dependence on the goodwill of others."

"It is remarkably difficult to avoid falling under the spell of our own intellectual heritage. As we analyse and reflect on our normative concepts, it is easy to become bewitched into believing that the ways of thinking about them bequeathed to us by the mainstream of our intellectual traditions must be the ways of thinking about them. … The history of philosophy, and perhaps especially of moral, social and political philosophy, is there to prevent us from becoming too readily bewitched. The intellectual historian can help us to appreciate how far the values embodied in our present way of life, and our present ways of thinking about those values, reflect a series of choices made at different times between different possible worlds. This awareness can help to liberate us from the grip of any one hegemonal account of those values and how they should be interpreted and understood. Equipped with a broader sense of possibility, we can stand back from the intellectual commitments we have inherited and ask ourselves in a new spirit of enquiry what we should think of them."

"Many historians make it a principal part of their business to investigate and explain the unfamiliar beliefs we encounter in past societies. But what is the relationship between our provision of such explanations and our assessment of the truth of such beliefs? The question is obviously a highly intractable one, but no practising historian can hope to evade it, as many philosophers have recently and rightly pointed out."

"To Namier it had seemed obvious that political theories act as the merest ex post facto rationalisations of political behaviour. If we are looking for explanations of political action, he maintained, we must seek them at the level of ‘the underlying emotions, the music, to which ideas are a mere libretto, often of very inferior quality’. For critics of Namier such as Sir Herbert Butterfield, the only possible retort seemed to be to go back to a famous dictum of Lord Acton’s to the effect that ideas are often the causes rather than the effects of public events. But this response duly incurred the scorn of Namier and his followers for the alleged naiveté of supposing that political actions are ever genuinely motivated by the principles used to rationalise them."

"Within a surprisingly short space of time, however, the fortunes of the neo-roman theory began to decline and fall. … One reason for this collapse was that the social assumptions underlying the theory began to appear outdated and even absurd. With the extension of the manners of the court to the bourgeoisie in the early eighteenth century, the virtues of the independent country gentleman began to look irrelevant and even inimical to a polite commercial age. The hero of the neo-roman writers came to be viewed not as plain-hearted but as rude and boorish; not as upright but as obstinate and quarrelsome; not as a man of fortitude but of mere insensibility."

"One of the present values of the past is as a repository of values we no longer endorse, of questions we no longer ask. One corresponding role for the intellectual historian is that of acting as a kind of archaeologist, bringing buried intellectual treasure back to the surface, dusting it down and enabling us to consider what we think of it."

"Having gestured at the concept of rationality, I ought to stress that I intend nothing very grand or precise by that much abused term. When I speak of agents as having rational beliefs, I mean only that their beliefs (what they hold to be true) should be suitable beliefs for them to hold true in the circumstances in which they find themselves. A rational belief will thus be one that an agent has attained by some accredited process of reasoning."

"The lack of freedom suffered by those who advise the powerful may of course be due to coercion or force. But the slavish behavior typical of such counselors may equally well be due to their basic condition of dependence and their understanding of what their clientage demands of them. As soon as they begin to ‘slide into a blind dependence upon one who has wealth and power’, they begin to desire ‘only to know his will’, and eventually ‘care not what injustice they do, if they may be rewarded’."

"If this is nothing more than a stipulation about how we ought to use the term ‘ideological’, then perhaps it will do no harm. But if it is a proposal about how historians ought to set about the business of explaining beliefs, then it seems to me fatal for just the reasons I have sought to give. It refuses to recognise that one of the reasons why someone may hold a certain belief is that there is good evidence in favour of it, that it fits well with their other beliefs, and so on – in a word, that it is rational for them to hold it. If we refuse to speak in these terms, we deprive ourselves of an indispensable means of identifying the most appropriate lines of enquiry to follow in any given case."

"The figure [neo-roman writers] wish to hold out for our admiration is described again and again. He is plain and plain-hearted; he is upright and full of integrity; above all he is a man of true manliness, of dependable valour and fortitude. His virtues are repeatedly contrasted with the vices characteristic of the obnoxious lackeys and parasites who flourish at court. The courtier, instead of being plain and plain-hearted, is lewd, dissolute and debauched; instead of being upright, he is cringing, servile and base; instead of being brave, he is fawning, abject and lacking in manliness."

"I am convinced, in short, that the importance of truth for the kind of historical enquiries I am considering has been much exaggerated. I take this to be a product of the fact that so much of the meta-historical discussion has hinged around the analysis of scientific beliefs. In such cases the question of truth may perhaps be of some interest. But in most of the cases investigated by historians of ideas, the suggestion that we need to consider the truth of the beliefs under examination is, I think, likely to strike the historian as strange."

"He is the embodiment of Fleet Street bullying, using his newspaper to peddle his Little-England, curtain-twitching Alan Partridgesque view of the world, which manages to combine sanctimonious, pompous moralising and prurient, voyeuristic, judgmental obsession, like a Victorian father masturbating secretly in his bedroom."

"[To Jimmy Edwards] Don't forget we are talking to rebels."

"Ten years ago I would have been dumbstruck by the attitude of Equity. Nowadays, however, we appear to be conditioned to the erosion of our liberties, and seem to have lost the will to fight for what we believe is right, and not for what is fashionable. Actions like that of Equity can only inflame the situation, whereas art should break down barriers, not help create them. I have been uplifted by the spirit of the people, Black and white. Not all Rhodesians agree with [prime minister] Ian Smith, but I have a feeling most people respect him."

"If you understand comedy, you understand life. Drama, death, tragedy – everybody has these. But with humour you've got all these, and the antidote. You have found the answer. It doesn't follow that because you are a good comedy writer, you're a happy fellow. I've got one of the most miserable faces in the world. I am only happy when I am working. If I'm not working, I get screwed up because my time is going, my life is slipping by."

"My theory is that we are all idiots. The people who don’t think they’re idiots — they’re the ones that are dangerous."

"I always say to young people, you can have the best script, be the funniest man, but if they don't laugh — you're not a comedian."

"Ayşe Erkoç learned long ago that the secret of doing anything illicit in Istanbul is to do it in full public gaze in the clear light of day. No one ever questions the legitimacy of the blatant."

"Nationalism, then Islamism, both twentieth-century inventions, destroyed the Greek civilization in Egypt that had endured for three thousand years."

"At some point it will inevitably crash again: as weapons of mass destruction go, unrestricted market economies are among the more subtle but sure."