Educators From The United States

"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."

"Oh who and oh who will sing Jesus down to help with struggling and doing without and being colored all through blue Monday? Till way next Sunday?"

"This man, this Douglass, this former slave, this Negro beaten to his knees, exiled, visioning a world where none is lonely, none hunted, alien, this man, superb in love and logic, this man shall be remembered."

"Standing to America, bringing home black gold, black ivory, black seed."

"What did I know, what did I know of love's austere and lonely offices?"

"Sundays too my father got up early and put his clothes on in the blueblack cold, then with cracked hands that ached from labor in the weekday weather made banked fires blaze. No one ever thanked him."

"right now I’m re-reading and re-reading Robert Hayden’s poems, which are absolutely beautiful and brilliant."

"When I read Jefferson's disparagement of Wheatley, it felt like he had been disparaging the entire lineage of Black poets who would follow her, myself included, and I saw a man who had not had a clear understanding of what love is. When Robert Hayden gave us the ballads to remember how captured Africans survived the Middle Passage and arrived on these shores, it was an act of love..."

"Environmentalists are a self-centered bunch of waffle-stomping, Harvard-graduating, intellectual idiots who are not Americans, never have been Americans, never will be Americans."

"What is more important in a library than anything else — is the fact that it exists."

"It is not in the world of ideas that life is lived. Life is lived for better or worse in life, and to a man in life, his life can be no more absurd than it can be the opposite of absurd, whatever that opposite may be."

"A poem should not mean But be."

"The dissenter is every human being at those moments of his life when he resigns momentarily from the herd and thinks for himself."

"Races didn't bother the Americans. They were something a lot better than any race. They were a People. They were the first self-constituted, self-declared, self-created People in the history of the world. And their manners were their own business. And so were their politics. And so, but ten times so, were their souls."

"Religion is at its best when it makes us ask hard questions of ourselves. It is at its worst when it deludes us into thinking we have all the answers for everybody else."

"To see the earth as it truly is, small and blue and beautiful in that eternal silence where it floats, is to see ourselves as riders on the earth together, brothers on that bright loveliness in the eternal cold — brothers who know now they are truly brothers."

"If God is God, he is not good. If God is good, he is not God."

"The business of the law is to make sense of the confusion of what we call human life—to reduce it to order but at the same time to give it possibility, scope, even dignity."

"Conventional wisdom notwithstanding, there is no reason either in football or in poetry why the two should not meet in a man's life if he has the weight and cares about the words."

"We are as great as our belief in human liberty — no greater. And our belief in human liberty is only ours when it is larger than ourselves."

"Quality is free, but only to those who are willing to pay heavily for it."

"You can't control what you can't measure"

"The business of software building isn't really high-tech at all. It's most of all a business of talking to each other and writing things down. Those who were making major contributions to the field were more likely to be its best communicators than its best technicians."

"It's not what you don't know that kills you but what you know that isn't so."

"A day lost at the beginning of project hurts just as much as a day lost at the end."

"People under pressure don’t work better; they just work faster."

"While the machines have changed enormously, the business of software development has been rather static."

"The manager's function is not to make people work, but to make it possible for people to work."

"Systems engineering as an approach and methodology grew in response to the increase size and complexity of systems and projects... This engineering approach to the management of complexity by modularization was re-deployed in the software engineering discipline in the 1960s and 1970s with a proliferation of structured methodologies that enabled the the analysis, design and development of information systems by using techniques for modularized description, design and development of system components. Yourdon and DeMarco's Structured Analysis and Design, SSADM, James Martin's Information Engineering, and Jackson's Structured Design and Programming are examples from this era. They all exploited modularization to enable the parallel development of data, process, functionality and performance components of large software systems. The development of object orientation in the 1990s exploited modularization to develop reusable software. The idea was to develop modules that could be mixed and matched like Lego bricks to deliver to a variety of whole system specifications. The modularization and reusability principles have stood the test of time and are at the heart of modern software development."

"The objectivity of the IPCC documents is laudable. But the fact that the group recognizes its model weaknesses and is trying to improve them doesn't make its conclusions stronger or more believable. (page 83)."

"The problem is not the math itself, but the blind acceptance and even idolatry we have applied to the quantitative models. These predictive models leave citizens befuddled and unable to defend or criticize model-based decisions. We argue that we should accept the fact that we live in a qualitative world when it comes to natural processes. We must rely on qualitative models that predict only direction, trends, or magnitudes of natural phenomena, and accept the possibility of being imprecise or wrong to some degree. We should demand that when models are used, the assumptions and model simplifications are clearly stated. A better method in many cases will be adaptive management, where a flexible approach is used, where we admit there are uncertainties down the road and we watch and adapt as nature rolls on."

"For more than twenty-five years we have monitored beach nourishment projects around the United States. In order to secure federal funding and justify the enormous costs of these projects, anyone undertaking one must make a prediction of how long the sand will last on the replenished beach. The predictions are based on mathematical models that are said to be sophisticated and state of the art, and yet are consistently, dramatically wrong—always in an optimistic direction. In the rare instances when communities questioned the models after the predictions of a long healthy replenished beach clearly failed, the answer typically was that an unusual and unexpected storm caused the error. Well, the occurrence of storms at any beach is neither unusual nor unexpected. Eventually we became interested in how models were used in other fields. When you start looking into it, you find that a lot of global and local decisions are made based on modeling the environment. There are some fascinating (and discouraging) stories of model misuse and misplaced trust in models in the book."

"If a model itself is “a poor representation of reality,” they write, “determining the sensitivity of an individual parameter in the model is a meaningless pursuit.”"

"The prototypical act of the modern intellectual is his abstracting himself from the life of the family. It is an act that has something about it of ritual thaumaturgy—at the beginning of our intellectual careers we are like nothing so much as those young members of Indian tribes who have had a vision or a dream which gives them power on condition that they withdraw from the ordinary life of the tribe. By intellectuality we are freed from the thralldom to the familial commonplace, from the materiality and concreteness by which it exists, the hardness of the cash and hardness of getting it, the inelegance and intractability of family things. It gives us power over intangibles and imponderables such as Beauty and Justice, and it permits us to escape the cosmic ridicule which in our youth we suppose is inevitably directed at those who take seriously the small concerns of the quotidian world, which we know to be inadequate and doomed by the very fact that it is so absurdly conditioned—by things, habits, local and temporary customs, and the foolish errors and solemn absurdities of the men of the past."

"If we ask what it is he [George Orwell] stands for, … the answer is: the virtue of not being a genius, of fronting the world with nothing more than one’s simple, direct, undeceived intelligence, and a respect for the powers one does have. … He communicates to us the sense that what he has done any one of us could do. Or could do if we but made up our mind to do it, if we but surrendered a little of the cant that comforts us, if for a few weeks we paid no attention to the little group with which we habitually exchange opinions, if we took our chance of being wrong or inadequate, if we looked at things simply and directly, having in mind only our intention of finding out what they really are, not the prestige of our great intellectual act of looking at them. He liberates us. He tells us that we can understand our political and social life merely by looking around us; he frees us from the need for the inside dope. He implies that our job is not to be intellectual, certainly not to be intellectual in this fashion or that, but merely to be intelligent according to our own lights—he restores the old sense of the democracy of the mind, releasing us from the belief that the mind can work only in a technical, professional way and that it must work competitively. He has the effect of making us believe that we may become full members of the society of thinking men. That is why he is a figure for us."

"The writer must define his audience by its abilities, by its perfections, so far as he is gifted to conceive them. He does well, if he cannot see his right audience within immediate reach of his voice, to direct his words to his spiritual ancestors, or to posterity, or even, if need be, to a coterie. The writer serves his daemon and his subject. And the democracy that does not know that the daemon and the subject must be served is not, in any ideal sense of the word, a democracy at all."

"There is no connection between the political ideas of our educated class and the deep places of the imagination."

"Our culture peculiarly honors the act of blaming, which it takes as the sign of virtue and intellect."

"Some paradox of our natures leads us, when once we have made our fellow men the objects of our enlightened interest, to go on to make them the objects of our pity, then of our wisdom, ultimately of our coercion."