illustrators

"biographer Professor Leiblich: "...from an early stage, she felt herself old, heavy, too serious. She had a sense of guilt about all her loves, she perceived love as a nuisance, something to beware of.""

"She was always guarding her secrets behind walls, and her love poems were covered under seven veils of mystery; among her most beautiful is the sonnet sequence, 'The Love of Theresa De-Mon'"

"The world is heavy on our eyelids"

"How the passing of Time tries me, its double reckoning my duty and my right: Every day it constructs and ruins me completing thus my life and my death."

"preeminent, versatile, and prolific writer of modern Hebrew letters"

"Leah Goldberg, as well as Anda Pinkerfeld-Amir, wrote verse for children, but she is best known for her modernist poetry. In line with contemporary European modernist poetry, she often expressed the poet's inner struggle during the act of writing, and the difficulties in overcoming this inherently artificial medium. Leah Goldberg was active in the field of literary criticism and translation, especially from Russian, and was in search of revolutionary techniques. She experimented with prose as well as drama. Her play "Ba'alat Ha'armon' ('The Castle Owner') introduced the difficult theme of the Holocaust to women's writing."

"The years have made up my face with memories of loves and have adorned my hair with light silver threads making me most beautiful. In my eyes are reflected the landscapes. And paths I have trod have straightened my stride – tired and lovely steps. If you should see me now you would not recognize your yesterdays – I am walking toward myself with a face you searched for in vain when I was walking toward you."

"'Leah Goldberg felt herself kin with Dante, Kafka, Beethoven, who also had imaginary loves, which were the muses that ignited their great works', concludes Professor Amiya Leiblich: "First and foremost, she was a poet, willing to let go of life for art's sake. The woman who experienced a miserable love life, succeeded in producing gentle love poems, and remains Israel's High Priestess of Love, who couples quote in moments of the most intense emotional harmony.""

"She was a fascinating university lecturer, who loved to stand on the pedestal, her eternal cigarette in her hand, and read poetry in her deep, rough, unpleasant voice, that nevertheless drew crowds into over-stuffed auditoriums."

"My days are engraved in my poems like years in the rings of a tree like the years of my life in the furrows of my brow"

"death. Its weight is not great. How lightly and with what casual grace we carry it with us everywhere we go."

"A young poet suddenly falls silent for fear of telling the truth. An old poet falls silent for fear the best in a poem is its lie."

"I think one of the problems that Americans often have when we're thinking about the Middle East is that Americans often only see images of the Middle East that come from war. So Americans might not realize that there are actually hundreds of thousands of people living in Raqqa, just like normal people, and if you take that awareness away, then it becomes very easy "Oh, bomb them all.""

"Look at this vast, beautiful, crazy, fucked-up, gorgeous, horrifying world. How could you not be inspired by it?"

"I think that school just isn't for everyone. A lot of people don't learn well when they have to sit in a place for eight hours. A lot of people learn best lying in their own beds, teaching themselves from books. And I was a bad student, I was a brat — if I was a teacher, I would not have liked myself — but this hammering kids to fit into this system is horrific. It leads to a lot of kids being either medicalized or criminalized, and I think the message I would have to kids is just like, survive it. And then, once you're out of childhood, I mean, you're just so much freer."

"I feel like political engagement is something that people, if they’re so inclined, all people should do...It’s not something that’s just for special, branded activists. It’s in part being a citizen."

"The Jewish heritage that resonates the most with me is our history as rebels and rootless cosmopolitans. Our history as the first white Freedom Riders who were murdered. Our history as dissident intellectuals like Hannah Arendt. Our skepticism, our nonalignment, all the things that made authoritarians throughout the world hate us so much."

"I started drawing when I was four. It fast became a way to relate to a world where classmates wrote death threats on my book bag. In grade school, I'd draw kids so they wouldn't hit me. Artists are courtiers more often than rebels. Painters survived the gulags by drawing criminals' kids. Being small and skilled, you learn to create little portals of escapism-to which the strong are as susceptible as anyone else."

"Women are looked at. But as an artist, I had permission to look back. Where the respectable avert their gaze, artists stare."

"Drawing is disruptive. You're producing when you're expected to consume."

"You take photos. Drawings you make. Cameras steal life force. Paintings, like The Picture of Dorian Gray, give you more."

"a brilliant illustrator, writer, and filmmaker"

"Animals and the natural world play a huge role in my artwork as I’ve learned so much from them."

"I was working on a graphic novel when Donald Trump was elected president. My heart sunk. I could not believe that the man who had accused Mexican immigrants as criminals and rapists had been elected to lead the United States. I felt unable to work, and that my stories made no sense anymore. I also felt afraid of what would come next for immigrant families like mine, like those of my friends and like those that my books had been written for and about."

"I remember loving Chato’s Kitchen by Gary Soto and Susan Guevara; I couldn’t believe that there was a book in the library about people from el barrio (actually cats, mice, and dogs), dressed, speaking, cooking, and having a family life that resembled mine. These books—and countless others—are the reason why I started making my own books (handmade at first, to emulate the books I loved)"

"(What advice would you give to young writers?) We all have our very own ways to tell stories, and you will find yours. Honor your heart and your instincts; let your story come out first, and then revise it to make it sing! More than anything else, do what gives you joy."

"Libraries are a world where you can be safe and comfortable finding in books the things that you like the most, or things that you are curious about, or you can learn something you didn't know before. That already seems to me a path for a more beautiful world."

"Like many, I admire the multiple talents of Yuyi Morales—author, illustrator, videographer, moving speaker. I also admire Yuyi’s creative spirit."

"My books are a combination of my culture growing up, but also my entering a new culture as an immigrant and having to learn—to re-learn—everything so that I’d actually be able to survive in a new country."

"when I am in my studio, I constantly remind myself that steady work will give me the results I want."

"(about Frida Kahlo) I had just come to the United States, a place where I didn’t know how I felt about my identity as a Mexican woman, and it was her pride that had an impact on me and made me realize that I had things to be proud of too."

"Any story that can weave more than one language into a story is based in real life, because we, la gente, when we communicate, we always use many different ways of saying things. My book not only uses words, and images, but they also communicate stories with colors, forms, embroidery, and even silence. I love telling stories where English and Espanol work together to enrich the narratives, and I love it when children can play with all the languages that are part of their lives."

"Everything in my life is an art project...to me it is all art."

"I didn't have children's books when I was growing up in Mexico, but my relative's fantastic stories of little people called chaneques, and the stories of hearing la Llorona at night, filled my imagination with a world that was both unbelievable and fascinating."

"Humphrey can't be left to do it on his own. It's not enough for the industry to say: "Of course, we're doing out bit for racial equality — we've got Humphrey Barclay, haven't we?""

"I feel there is terrible prejudice [...] I think it's to do with laziness and preconceptions principally laziness and fear on the part of the establishment. I have a reasonably wide knowledge of the black talent available on paper and on stage and am constantly amazed by it. I have a feeling that people in the seats of power in television entertainment don't know about it because they haven't bothered to explore it."

"It seems we make sitcoms work by luck rather than design. [The American method] They fund a sitcom expensively right up front because they know if they get it right it'll make everybody's fortune."

"[On pitching ideas to programme commissioners] When I am turned down, my first thought may be that the person concerned is an idiot. But perhaps he isn't. Perhaps what I am offering has simply got to be better."

"The orientalist vision of the Holy Scriptures even becomes popular with the illustrated editions of the Bible, from that of Gustave Doré of 1866, imaginative but with precise oriental references, to the very widespread one edited by James Tissot, who he inserts views of the cities, maps, architectural reconstructions and topographical surveys of the sacred stations with the aim of making biblical archeology reliable, otherwise distorted, as the curator claims, by the fervent imagination of the artists. In one sense or another, the drive to seek the living testimonies of the Holy Scriptures in the Eastern reality of the moment, and to permeate a disenchanted West, was relaunched in the second half of the nineteenth century by the neo-spiritualist attempt to reaffirm the primacy of faith in the era of scientific materialism . (Attilio Brilli)"

"The character of his art, in which a very varied and lively inventiveness predominates, reflects the very otherwise ingenious taste of E. Delacroix, with whom he shares the dynamic and excited research, the chiaroscuro contrasts and the traits of environmental realism, without attempting to compete with him in creative richness and originality. (Valerio Mariani)"

"There are, roughly, about three conditions that seem to be basic in the artist's equipment: to be cultured, to be educated, and to be integrated."

"The book is the clearest, most forceful statement on art by an artist of our time that I have read."

"One's education naturally begins at the cradle. But it may perfectly well begin at a later time too. Be born poor... or be born rich... it really doesn't matter. Art is only amplified by such diversity."

"What is it about us, the public, and what is it about conformity itself that causes us all to require it of our neighbors and of our artists and then, with consummate fickleness, to forget those who fall into line and eternally celebrate those who do not?"

"I believe that there is no kind of experience which has not its potential visual dimension or its latent meanings for literary or other expression. Know all you can mathematics, physics, economies, and particularly history. As part of the whole education, the teaching of the university is therefore of profoundest value."

"Today's conformity is, more than anything else, the retreat from controversiality. Tomorrow's art, if it is to be at all stirring, will no doubt be performed upon today's forbidden territory."

"Conformity is a mood and an atmosphere, a failure of hope or belief or rebellion."

"it is always in the future that the course of art lies"

"freedom itself is a disciplined thing. Craft is that discipline which frees the spirit; and style is the result."

"In art, the conservative is the vigorous custodian of the artistic treasures of a civilization, of its established values and its tastes-those of the past and even those present ones which have become accepted. Without the conservative we would know little of the circumstances of past art; we would have lost much of its meaning; in fact, we would probably have lost most of the art itself. However greatly the creative artist may chafe at entrenched conservatism, it is still quite true that his own work is both sustained and enriched by it."