People From Philadelphia

"You have prayed to these priests -- they have answered you with death. You have shed your tears at the feet of these kings -- they have fed upon your flesh. You have clutched the garments of these rich men -- they have quenched their thirst with your blood … NOW THE DAY OF PRAYERS AND TEARS HAS PASSED. THE DAY OF JUDGEMENT HAS COME."

"The Kingdom of God is plainly that state of temporal affairs which, by a proper distribution of labor, enables the entire human family to cultivate their best faculties. The Kingdom of God commences in this world, will progress in the next, and in all other worlds."

"The maiden---pure and without stain--lay sleeping on the small couch that occupied one corner of the closet. Her fair limbs were enshrouded in the light folds of a night-robe, and she lay in an attitude of perfect repose, one glowing cheek resting upon her uncovered arm, while over the other, waved the loosened curls of her glossy hair. The parting lips disclosed her teeth, white as ivory, while her youthful bosom came heaving up from the folds of her night-robe, like a billow that trembles for a moment in the moonlight, and then is suddenly lost to view. She lay there in all the ripening beauty of maidenhood, the light falling gently over her young limbs, their outlines marked by the easy folds of her robe, resembling in their roundness and richness of proportion, the swelling fulness of the rose-bud that needs but another beam of light, to open it into its perfect bloom."

"He describes him in general terms, as the most incomprehensible and formidable among men; as engaged in schemes, reasonably suspected to be, in the highest degree, criminal, but such as no human intelligence is able to unravel: that his ends are pursued by means which leave it in doubt whether he be not in league with some infernal spirit: that his crimes have hitherto been perpetrated with the aid of some unknown but desperate accomplices: that he wages a perpetual war against the happiness of mankind, and sets his engines of destruction at work against every object that presents itself."

"Ruffian or devil, black as hell or bright as angels, thenceforth he was nothing to me."

"Fallen from his lofty and heroic station; now finally restored to the perception of truth; weighed to earth by the recollection of his own deeds; consoled no longer by a consciousness of rectitude, for the loss of offspring and wife – a loss for which he was indebted to his own misguided hand; Wieland was transformed at once into the man of sorrow?"

"Dost thou wish me to complete the catalogue by thy death? Thy life is a worthless thing. Tempt me no more. I am but a man, and thy presence may awaken a fury which may spurn my control. Begone!"

"A woman capable of recollection in danger, of warding off groundless panics, of discerning the true mode of proceeding, and profiting by her best resources, is a prodigy."

"Where was her bloom! These deadly and blood-suffused orbs but ill resemble the azure and ecstatic tenderness of her eyes. The lucid stream that meandered over that bosom, the glow of love that was wont to sit upon that cheek, are much unlike these livid stains and this hideous deformity. Alas! These were the traces of agony; the grip of the assassin had been here!"

"I have lost all faith in the steadfastness of human resolves."

"Where is the proof, said I, that daemons may not be subjected to the control of men? This truth may be distorted and debased in the minds of the ignorant. The dogmas of the vulgar, with regard to this subject, are glaringly absurd; but though these may justly be neglected by the wise, we are scarcely justified in totally rejecting the possibility that man may obtain supernatural aid."

"Grief carries its own antidote along with it."

"I sought not in her visage, for the tinge of the morning, and the lustre of heaven. These had vanished with life; but I hoped for liberty to print a last kiss upon her lips. This was denied me; for such had been the merciless blow that destroyed her, that not a lineament remained!"

"But now, severed from the companion of my infancy, the partaker of all my thoughts, my cares, and my wishes, I was like one set afloat upon a stormy sea, hanging his safety upon a plank; night was closing upon him, and an unexpected surge had torn him from his hold and overwhelmed him forever."

"My narrative may be invaded by inaccuracy and confusion; but if I live no longer, I will, at least, live to complete it. What but ambiguities, abruptnesses, and dark transitions, can be expected from the historian who is, at the same time, the sufferer of these disasters?"

"Scanned by the eyes of this intelligence, your path will be without pits to swallow, or snares to entangle you. Environed by the arms of this protection, all artifices will be frustration, and all malice repelled."

"Purposes fraught with horror, that shun the light, and contemplate the pollution of innocence are here engendered, and fostered, and reared to maturity."

"I used to suppose that certain evils could never befall a being in possession of a sound mind; that true virtue supplies us with energy which vice can never resist; that it was always in our power to obstruct, by his own death, the designs of an enemy who aimed at less than our lives."

"Bloodshed is the trade, and horror is the element of this man."

"I feel little reluctance in complying with your request. You know not fully the cause of my sorrows. You are a stranger to the depth of my distresses. Hence your efforts at consolation must necessarily fail. Yet the tale that I am going to tell is not intended as a claim upon your sympathy. In the midst of my despair, I do not disdain to contribute what little I can for the benefit of mankind. I acknowledge your right to be informed of the events that have lately happened in my family. Make what use of the tale you shall think proper. If it be communicated to the world, it will inculcate the dusty of avoiding deceit. It will exemplify the force of early impressions, and show the immeasurable evils that flow from an erroneous or imperfect discipline."

"Throughout time painting has alternately been put to the service of the Church, the State, arms, individual patronage, scientific phenomena, anecdote and decoration … all the marvelous works that have been painted, whatever the sources of inspiration, still live for us because of absolute qualities they possess in common. The creative force and the expressiveness of painting reside materially in the colour and texture of pigments, in the possibilities of form invention and organisation, and in the flat plane on which these elements are brought into play."

"There is … your high bridge in Pasadena from which every once in a while someone jumps off, committing suicide. There is no question of removing the bridge. Poems have been written by well-known authors that are supposed to have driven love-sick young people to suicide. These works are not banned. Thousands lose their lives in automobile accidents, yet nothing is done to restrain manufacturers from building lethal instruments that can do more than 30 miles an hour. To me, a painter, if not the most useful, is the least harmful member of our society. An unskilled cook or doctor can put our lives in danger. l have tried … to paint a picture that would, like the beautiful head of Medusa, turn the spectator to stone … so that certain ones who looked at it would drop dead … but l have not yet succeeded!"

"There is no progress in art, any more than there is progress in making love. There are simply different ways of doing it."

"It has never been my object to record my dreams, just the determination to realize them."

"One of the satisfactions of a genius is his will-power and obstinacy."

"I have finally freed myself from the sticky medium of paint, and am working directly with light itself."

"[Man Ray was] a kind of short man who looked a little like Mister Peepers, spoke slowly with a slight Brooklynese accent, and talked so you could never tell when he was kidding."

"Man Ray is a youthful alchemist forever in quest of the painter's philosopher's stone. May he never find it, as that would bring an end to his experimentations which are the very condition of living art expression."

"Man Ray, n.m. synon. de Joie jouer jouir. (Translation: "Man Ray, masculine noun, synonymous with joy, to play, to enjoy.")"

"With him you could try anything—there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured, and that kind of encouragement was wonderful."

"It's a Man Ray kind of sky, Let me show you what I can do with it."

"Don't put my name on it. These are simply documents I make."

"You see, I try to walk the tightrope of accomplishment between the chasms of notoriety and oblivion."

"I do not photograph nature. I photograph my visions. Quoted in PBS episode of American Masters"

"unconcerned but not indifferent"

"I have been accused of being a joker. But the most successful art to me involves humor."

"l paint what cannot be photographed, and l photograph what l do not wish to paint. lf it is a portrait that interests me, a face, or a nude, I will use my camera. It is quicker than making a drawing or a painting. But if it is something I cannot photograph, like a dream or a subconscious impulse I have to resort to drawing or painting. To express what I feel I use the medium best suited to express that idea, which is also always the most economical one. l am not at all interested in being consistent as a painter, and object-maker or a photographer. I can use several different techniques, like the old masters who were engineers, musicians and poets at the same time. I have never shared the contempt shown by painters for photography: there is no competition involved, painting and photography are two media engaged in different paths. There is no conflict between the two."

"An original is a creation motivated by desire. Any reproduction of an original is motivated by necessity. The original is the result of an automatic process, the reproduction, of a mechanical process. In other words: Inspiration then information; each validates the other. All other considerations are beyond the scope of these statements. It is marvelous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human."

"All critics should be assassinated."

"Of course, there will always be those who look only at technique, who ask "how", while others of a more curious nature will ask "why". Personally, I have always preferred inspiration to information."

"A creator needs only one enthusiast to justify him."

"I've always felt that complement of opposites: body and soul, solitude and companionship, and in the dance studio, contraction and release, rise and fall."

"I have been guilty of watching Westerns without acknowledging that Native Americans have gone through the same madness as African Americans. Isn't it extraordinary that sometimes the most offended have not seen others being offended?"

"Dance is bigger than the physical body. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that; you're dancing spirit."

"I can't really hear the audience applause when I'm on stage. I'm totally immersed in the piece. But sometimes I get a lot of it and wonder, "Now, why did they applaud here?" If it's a white crowd, they usually applaud because they think it's a pretty movement. If it's a black crowd, it's usually because they identify with the message."

"People come to see beauty, and I dance to give it to them."

"My figures at least are not a bunch of clothes with a head and hands sticking out but more nearly resemble the strong living bodies that most pictures show. And in the latter end of a life so spent in study, you at least can imagine that painting is with me a very serious study. That I have but little patience with the false modesty which is the greatest enemy to all figure painting. I see no impropriety in looking at the most beautiful of Nature's works, the naked figure. If there is impropriety, then just where does such impropriety begin? Is it wrong to look at a picture of a naked figure or at a statue? English ladies of the last generation thought so and avoided the statue galleries, but do so no longer. Or is it a question of sex? Should men make only the statues of men to be looked at by men, while the statues of women should be made by women to be looked at by women only? Should the he-painters draw the horses and bulls, and the she-painters like Rosa Bonheur the mares and cows? Must the poor old male body in the dissecting room be mutilated before Miss Prudery can dabble in his guts? Such indignities anger me. Can not anyone see into what contemptible inconsistencies such follies all lead? And how dangerous they are? My conscience is clear, and my suffering is past."

"He was never interested in conventional beauty. Sober, pinched, reflective, lined and melancholy, his portraits remind us of that. But how many American artists said more about the sense of being in the world? Eakins was that extreme rarity, an artist who refused to tell a lie even in the service of his own imagination."

"Thomas Eakins was a man of great character. He was a man of iron will and his will to paint and to carry out his life as he thought it should go. This he did. It cost him heavily but in his works we have the precious result of his independence, his generous heart and his big mind. Eakins was a deep student of life, and with a great love he studied humanity frankly. He was not afraid of what his study revealed to him."

"I never knew of but one artist, and that's Tom Eakins, who could resist the temptation to see what they think ought to be rather than what is."