Academics From The United States

"The past speaks to us in a thousand voices, warning and comforting, animating and stirring to action. What its great thinkers have thought and written on the deepest problems of life, shall we not hear and enjoy? The future calls upon us to prepare its way. Dare we fail to answer its solemn summons?"

"Already complaints are multiplying on every hand that that most gracious quality of all that adorns the age of childhood — the quality of reverence — is fast fading from our schools and households; that the oldtime respect for father and mother is diminished, and grown rarer and more uncertain."

"Statesmen and Philanthropists are busy suggesting remedies for the cure of these great evils. But the renovation of our Civil Service, the reform of our Primaries, and whatever other measures may be devised, they all depend in the last instance upon the fidelity of those to whom their execution must be entrusted. They will all fail unless the root of the evil be attacked, unless the conscience of men be aroused, the confusion of right and wrong checked, and the loftier purposes of our being again brought powerfully home to the hearts of the people."

"The very names that ought to be held up as luminaries of honor have become bywords of villainy, and the foul stench of corruption fills our public offices. See how the Nation, in this the festal epoch of her marriage to Liberty, stands blackened with the crimes of her first dignitaries, and hides her head in shame before the nations!"

"Where the roots of private virtue are diseased, the fruit of public probity cannot but be corrupt."

"There is a great and crying evil in modern society. It is want of purpose. It is that narrowness of vision which shuts out the wider vistas of the soul. It is the absence of those sublime emotions which, wherever they arise, do not fall to exalt and consecrate existence."

"It has been said that the modern world is divided between the hot and hasty pursuit of affairs in the hours of labor, and the no less eager chase of pleasure in the hours of leisure. But even our pleasures are calculated and business like. We measure our enjoyments by the sum expended. Our salons are often little better than bazaars of fashion."

"We have already transgressed the limit of safety, and the present disorders of our time are but precursors of other and imminent dangers. The rudder of our ship has ceased to move obedient to the helm. We are drifting on the seething tide of business, each one absorbed in holding his own in the giddy race of competition, each one engrossed in immediate cares and seldom disturbed by thoughts of larger concerns and ampler interests. Even our domestic life has lost much of its former warmth and geniality."

"The moral improvement of the nations and their individual components has not kept pace with the march of intellect and the advance of industry. Before the assaults of criticism many ancient strongholds of faith have given way, and doubt is fast spreading even into circles where its expression is forbidden. Morality, long accustomed to the watchful tutelage of faith, finds this connection loosened or severed, while no new protector has arisen to champion her rights, no new instruments been created to enforce her lessons among the people. As a consequence we behold a general laxness in regard to obligations the most sacred and dear. An anxious unrest, a fierce craving desire for gain has taken possession of the commercial world, and in instances no longer rare the most precious and permanent goods of human life have been madly sacrificed in the interests of momentary enrichment."

"When we are about to set forth on a path hitherto untried and likely to lead our lives in a new direction, it appears eminently desirable and proper that we should, in the first place, briefly review the public and private life of the day, in order to determine whether the essential elements that make up the happiness of states and individuals are all duly provided, and if not, where the need lies and how it can best be supplied."

"I believe in the supreme excellence of righteousness; I believe that the law of righteousness will triumph in the universe over all evil; I believe that in the attempt to fulfil the law of righteousness, however imperfect it must remain, are to be found the inspiration, the consolation, and the sanctification of human existence. We live in order to finish an, as yet, unfinished universe, unfinished so far as the human, that is, the highest part of it, is concerned. We live in order to develop the superior qualities of man which are, as yet, for the most part latent."

"We should seek to free the moral life from the embarrassments and entanglements in which it has been involved by the quibbles of the schools and the mutual antagonisms of the sects; to introduce into it an element of downrightness and practical earnestness; above all, to secure to the modern world, in its struggle with manifold evil, the boon of moral unity, despite intellectual diversity."

"The frontier of the higher life is everywhere contiguous to the common life, and we can cross the border at any moment. The higher life is as real as the grosser things in which we put our trust. But our eyes must be anointed so that we may see it. The office of the religious teacher is to be a seer, and to make others see, and thus to win them into the upward way."

"We should teach our children nothing which they shall ever need to unlearn; we should strive to transmit to them the best possessions, the truest thought, the noblest sentiments of the age in which we live."

"Theologians often say that faith must come first, and that morality must be deduced from faith. We say that morality must come first, and faith, to those whose nature fits them to entertain it, will come out of the experience of a deepened moral life as its richest, choicest fruit. Precisely because moral culture is the aim, we cannot be content merely to lift the mass of mankind above the grosser forms of evil. We must try to advance the cause of humanity by developing in ourselves, as well as in others, a higher type of manhood and womanhood than the past has known. To aid in the evolution of a new conscience, to inject living streams of moral force into the dry veins of materialistic communities is our aim. We seek to come into touch with the ultimate power in things, the ultimate peace in things, which yet, in any literal sense, we know well that we cannot know. We seek to become morally certain — that is, certain for moral purposes — of what is beyond the reach of demonstration. But our moral optimism must include the darkest facts that pessimism can point to, include them and transcend them."

"I feel like Galway Kinnell has been a teacher, even though I have never met him. I love his work. I think that what he has is a beautiful balance between technique and music. He is such a poet. He's a poet's poet with the music"

"I take a wolf's rib and whittle it sharp at both ends and coil it up and freeze it in blubber and place it out on the fairway of the bears."

"The sheer blue milken dreaminess spurting and shuddering from the fourteen teats into the fourteen mouths sucking and blowing beneath them: the long, perfect loveliness of sow."

"The appeal to heaven breaks off. The petals begin to fall, in self-forgiveness. It is a flower. On this mountainside it is dying."

"A boy's hunched body loved out of a stalk The first song of his happiness, and the song woke His heart to the darkness and into the sadness of joy."

"In the long run, a society's strength depends on the way that ordinary people voluntarily behave. Ordinary people matter because there are so many of them. Voluntary behavior matters because it is hard to supervise everyone all the time. … Successful societies — those which progress economically and politically and can control the terms on which they deal with the outside world — succeed because they have found ways to match individual self-interest to the collective good. The behavior that helps each person will, as a cumulative ethos, help the society as a whole."

"The farsighted Willard G. Wyman, the commanding general of the Continental Army Command, had asked Stoner to design a rifle precisely to take advantage of the “payoff” of smaller bullets. The AR-15, the precursor of the M-16, used .22-caliber bullets instead of the .30-caliber that had long been standard for the Army. As early as 1928, an Army “Caliber Board” had conducted firing experiments in Aberdeen, Maryland, and had then recommended a move toward smaller ammunition..."

"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."

"Whitman: And Eakins - What of Tom Eakins. He is here. Haven't you something to say to us Eakins? Eakins: I am not a speaker. Whitman: So much the better — you are more likely to say something."

"I want to see the gardens and palace of the Alcazar where the Moorish Kings used to live. It is as perfect an architecture as the Egyptian, Greek or Gothic and just as beautiful, maybe more beautiful and it is well built for it looks as new as if it had just been done. We have to thanks these Moors for our greatest sciences, they did the big work for us, they started them, Algebra, Chemistry, Astronomy. They are our masters."

"If America is to produce great painters and if young artists wish to assume a place in the history of the art of their country, their first desire should be to remain in America to peer deeper into the heart of American life, rather than spend their time abroad obtaining a superficial view of the art of the Old World. In the days when I studied abroad conditions were entirely different. The facilities for study in this country were meagre. There were even no life classes in our art schools and schools of painting. Naturally one had to seek instruction elsewhere, abroad. Today we need not do that."

"Strain your brain more than your eye... You can copy a thing to a certain limit. Then you must use intellect."

"I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's "Rest in the Lord." It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure."

"I have never discovered that the nude could be studied in any way except the way I have adopted. All the muscles must be pointed out. To do this all the drapery must be removed."

"On the lines of the mighty and simple strains dominating the movement, and felt intuitively and studied out by him, the master artist groups with full intention, his muscular forms. No detail contradicts. His men and animals live. Such is the work of three or four modern artists. Such was the work of many an old Greek sculptor."

"I taught in the Academy from the opening of the schools until I was turned out, a period much longer than I should have permitted myself to remain there. My honors are misunderstanding, persecution and neglect, enhanced because unsought."

"I desire to sever all connection with the Society of American Artists. In deference to some of its older members, who perhaps from sentimental motives requested me to reconsider my resignation last year, I shall explain... For the last three years my paintings have been rejected by you, one of them the Agnew portrait, a composition more important than any I have ever seen on your walls. Rejection for three years eliminates all elements of chance, and while in my opinion there are qualities in my work which entitle it to rank with the best in your Society, your Society's opinion must be that it ranks below much that I consider frivolous and superficial. These opinions are irreconcilable."

"As some of you know, I some years ago — a few — painted a picture of Mr. Whitman. I began in the usual way, but soon found that the ordinary methods wouldn't do — that technique, rules and traditions would have to be thrown aside; that before all else, he was to be treated as a man, whatever became of what are commonly called the principles of art."

"In pursuance of my business and professional studies, I use the naked model. A number of my women pupils have for economy studied from each others' figures, and of these some have obtained from time to time my criticism on their work. I have frequently used as models for myself my male pupils: very rarely female pupils and then only with the knowledge and consent of their mothers. One of the women pupils some years ago gave to her lover who communicated it to Mr. Frank Stephens a list of these pupils as far as she knew them, and since that time Mr. Frank Stephens has boasted to witnesses of the power which this knowledge gave him to turn me out of the Academy, the Philadelphia Sketch Club, & the Academy Art Club, and of his intention to drive me from the city."

"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."

"I have seen big painting here. When I had looked at all the paintings by all the masters I had known I could not help saying to myself all the time, it's very pretty but it's not all yet. It ought to be better, but now I have seen what I always thought ought to have been done and what did not seem to me impossible. O what satisfaction it gave me to see the good Spanish work so good so strong so reasonable so free from every affectation. It stands out like nature itself."

"A teacher can do very little for a pupil and should only be thankful if he don't hinder him, and the greater the master, mostly the less he can say."

"In a big picture you can see what o'clock it is afternoon or morning if it's hot or cold winter or summer & what kind of people are there & what they are doing and why they are doing it. The sentiments run beyond words. If a man makes a hot day he makes it like a hot day he once saw or is seeing if a sweet face a face he once saw or which he imagines from old memories or parts of memories & his knowledge and he combines never creates but at the very first combination no man & less of all himself could ever disentangle the feelings that animated him just then & refer each one to its right place."

"The big artist does not sit down monkey like & copy a coal scuttle or an ugly old woman like some Dutch painters have done nor a dungpile, but he keeps a sharp eye on Nature & steals her tools. He learns what she does with light the big tool & then colour then form and appropriates them to his own use. Then he's got a canoe of his own smaller than Nature's but big enough for every purpose except to paint the midday sun which is not beautiful at all. It is plenty strong enough though to make midday sunlight or the setting sun if you know how to handle it. With this canoe he can sail parallel to Nature's sailing. He will soon be sailing only where he wants to selecting nice little coves & shady shores or storms to his own liking, but if ever he thinks he can sail another fashion from Nature or make a better shaped boat he'll capsize or stick in the mud & nobody will buy his pictures or sail with him in his old tub."

"When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is — except a naked man, but I never saw a study of one exhibited."

"We appreciate politeness when we are far from home. We may have different ideas of the word. An incivility or supposed incivility in a strange land cuts very deep and even a great or unlooked for kindness almost brings tears for one is apt to say to himself you are very good but maybe its because I'm a stranger, and he is forcibly reminded of home where kindness is taken thoughtlessly as a matter of course. Impressions are stronger away from home as you have discerned. If by politeness then is meant goodness, it is appreciated by me as I trust it always has been, but if it is to mean the string of ceremonies generally used for concealing ill nature, and which have been found necessary to the existence of every society whose members are wanting in self respect and morality, I detest it more than ever. I have often used the word in both these acceptations, but I don't like it. My prominent idea of a polite man is one who is nothing but polish. It is an unenviable reputation. If there was anything else in him the polish would never be noticed. He is a bad drawing finely worked up, and Gérôme says that every attempt at finish on a bad design serves only to make the work more contemptible."

"The word routine suggests the humdrum and the inconsequential; however, unlike the routines of workplace and office, those of home are not inconsequential for they're dictated by the cyclical requirements of biological life."

"Freedom implies space; it means having the power and enough room in which to act."

"The world feels spacious and friendly when it accommodates our desires, and cramped when it frustrates them."

"We think of the house as home and place, but enchanted images of the past are evoked not so much by the entire building, which can only be seen, as by its components and furnishings, which can be touched and smelled as well: the attic and the cellar, the fireplace and the bay window, the hidden corners, a stool, a gilded mirror, a chipped shelf."

"Experience takes time and calls for patience."

"If each person can achieve greatness, so can each fall into baseness."

"People who have ‘music’ in their souls are fun to be with."