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Drawing Quotes

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Drawing Quotes

“The piano is the social instrument par excellence... drawing-room furniture, a sign of bourgeois prosperity, the most massive of the devices by which the young are tortured in the name of education and the grown-up in the name of entertainment.”

“Young people are more hopeful at a certain age than adults, but I suspect that's glandular. As for children, I keep as far from them as possible. I don't like the sight of them. The scale is all wrongs. The heads tend to be too big for the bodies, and the hands and feet are a disaster. They keep falling into things. The nakedness of their bad character! We adults have learned how to disguise our terrible character, but children, well, they are like grotesque drawings of us. They should be neither seen nor heard, and no one must make another one.”

“He had been someone before. That person had been the result of a lifetime of choices, good and bad. And like it or not, he was drawing closer to that identity now. Not the freedom of infinite variety, but the tyranny of a decision made, a path walked, a life lived. What if he didn't like the view”

“A man is skillful at woodraft just in proportion as he approaches this balance. Knowing the wilderness can be comfortable when a less experienced man would endure hardship. Conversely, if a man endures hardships where a woodsman could be comfortable, it argues not his toughness, but his ignorance or foolishness, which is exactly the case with our blatant friend of the drawing-room reputation.”

“As bank customers, we tend to believe that we can have both perfect security for our money, drawing on it whenever we want and never expecting it not to be there, while still earning a regular rate of return. In a true free market, however, there tends to be a tradeoff: you can enjoy a money warehouse or you can hope for a return on your investment. You can't usually have both. The Fed, however, by backing up this fractional-reserve system with a promise of endless bailouts and money creation, attempts to keep the illusion going.”

“Tragedy was foresworn, in ritual denial of the ripe knowledge that we are drawing away from one another, that we share only one thing, share the fear of belonging to another, or to others, or to God; love or money, tender equated in advertising and the world, where only money is currency, and under dead trees and brittle ornaments prehensile hands exchange forgeries of what the heart dare not surrender.”

“The Goddess falls in love with Herself, drawing forth her own emanation, which takes on a life of its own. Love of self for self is the creative force of the universe. Desire is the primal energy, and that energy is erotic: the attraction of lover to beloved, of planet to star, the lust of electron for proton. Love is the glue that holds the world together.”

“Literature is love. I think it went like this: drawings in the cave, sounds in the cave, songs in the cave, songs about us. Later, stories about us. Part of what we always did was have sex and fight about it and break each other’s hearts. I guess there’s other kinds of love too. Great friendships. Working together. But poetry and novels are lists of our devotions. We love the feel of making the marks as the feelings are rising and falling. Living in literature and love is the best thing there is. You’re always home.”

“Pornographic or erotic stories and pictures are worse than filthy or polluted food. The body has defenses to rid itself of unwholesome food. With a few fatal exceptions, bad food will only make you sick but do no permanent harm. In contrast, a person who feasts upon filthy stories or pornographic or erotic pictures and literature records them in this marvelous retrieval system we call a brain. The brain won't vomit back filth. Once recorded, it will always remain subject to recall, flashing its perverted images across your mind and drawing you away from the wholesome things in life.”

“Today, although as a whole, the industry is still male-dominated, more women are drawing comics than ever before, and there are more venues for them to see their work in print. In the 1950s, when the comic industry hit an all-time low, there was no place for women to go. Today, because of graphic novels, there's no place for aspiring women cartoonists to go but forward.”

“Unlike scandal-monger Ed Klein’s fantastical No. 1 best-selling narrative about the supposed Blood Feud between the Clintons and the Obamas, Halper’s study is juicy and gossipy, yet scrupulously researched, drawing on numerous on-the-record conversations (as well as many not-for-attribution interviews) with prominent Democrats and Clinton insiders, past and present.”