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Raphael Quotes

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Raphael Quotes

“This isn't a situation, okay? I save that word for when things get really bad.' 'Really bad? This isn't really bad? what do you want, a nuclear -' She broke off with a scream as Lily, braving the light, launched herself at Jace, her teeth bared in a searing snarl. Jace seized the second blade from his belt and hurled it through the air; Lily fell back screeching, a long gash sizzling down her arm. As she staggered, the other vampires surged forward around her. There were so many of them, Clary thought, so many- She fumbled at her belt, her fingers closing around the hilltop the dagger. It felt cold and foreign in her hand. She didn't know how to use a knife. She'd never hit anyone, let alone stabbed them. She'd even skipped gym class the day they'd learned how to ward off muggers and rapists with ordinary objects like car keys and pencils. She pulled the knife red, raised it in a shaking hand - The windows exploded inwards in a shower of broken glass. She heard herself cry out, saw the vampires - barely an arms length from her and Jace - whirl in astonishment, shock mingling with terror on their faces. Through the shattered windows came dozens of sleek shapes, four-footed and low to the ground, their coats scattering the moonlight and broken bits of glass. Their eyes were blue fire, and from their throats came a combined low growl that sounded like the roiling crash of a waterfall. Wolves. 'Now this,' said Jace, 'is a situation.”

VampiresJaceWerewolvesRaphaelClaryLuke GarrowayHotel DumontLucian Graymark
Book:섀도우 헌터스 : 뼈의 도시. 1
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“Not without deep pain do we admit to ourselves that the artists of all ages have in their highest flights carried to heavenly transfiguration precisely those conceptions that we now recognize as false: they are the glorifiers of the religious and philosophical errors of humanity, and they could not have done this without their belief in the absolute truth of these errors. Now if the belief in such truth generally diminishes, if the rainbow colors at the outermost ends of human knowing and imagining fade: then the species of art that, like the Divina commedia, Raphael's pictures, Michelangelo's frescoes, the Gothic cathedrals, presupposes not only a cosmic, but also a metaphysical significance for art objects can never blossom again. A touching tale will come of this, that there was once such an art, such belief by artists.”

ArtArtistCultureRenaissanceArtistryAbsolute TruthRaphaelDanteMichelangeloArt Theory
Book:Human, All Too Human: A Book for Free Spirits
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“When we set about accounting for a Napoleon or a Shakespeare or a Raphael or a Wagner or an Edison or other extraordinary person, we understand that the measure of his talent will not explain the whole result, nor even the largest part of it; no, it is the atmosphere in which the talent was cradled that explains; it is the training it received while it grew, the nurture it got from reading, study, example, the encouragement it gathered from self-recognition and recognition from the outside at each stage of its development: when we know all these details, then we know why the man was ready when his opportunity came.”

LearningStudyTalentGeniusTrainingEncouragementExtraordinaryNurtureWilliam ShakespeareRaphaelThomas EdisonNapoleon BonaparteRichard Wagner
Book:How Nancy Jackson Married Kate Wilson and Other Tales of Rebellious Girls and Daring Young Women
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“In The Archangel Raphael Leaving Tobias' Family, Rembrandt leaves dirt on the shadowed soles of Raphael's feet as he flies off, illuminated in glory. Passing by the painting, one sees the dramatic action, the melodramatic emotions, and the re-created narrative events of the Bible. Slowed down a bit, the viewer sees light across a large muscular calf, a strong and sharply shaped ankle, and then dirty feet. The angel who tells us he only pretended to eat - this to explain away all traces of his apparent earthliness as a fallen creaturely being - is here on the canvas with dirty feet, carrying soil, the created, to the creator. Van Gogh had rightly said there are mysteries in these paintings. They are mysteries of device and design, not of messianic significance. They require a docent and not a priest, a creative critic to guide the view of specific images, not a guardian of mysteries and master of their enigmatic authority. Dirty feet on the soles of an archangel famous for his annunciations give the viewer a point of view on the inescapably human nature of the narrated God. Raphael may no eat. He may believe he creates an illusion to satisfy the religious desire for mythological consistency, but even archangels deceive themselves as well as others. Humans sometimes do the same in inventing the transcendence they need or think they want - creating a regime from which the priestly classes rule, even theorizing the alienation of the divine. Deceit is an essential device of cultural adaptation. It constructs needed beliefs that at high and low levels of thought or action complement their existence with modes of self-defense, which protect them from not only needed analysis but also the importance of failure.”

LaughterArchangelRaphaelRembrandtCatastrophists
Book:Love's Shadow
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“It was a tribute to Raphael that lesser artists wanted to copy his work, but this… this was a travesty. The fresco consisted of Galatea’s apotheosis, wherein she is surrounded by mythical creatures. A beautiful scene, with all the potential in the world, but very poorly executed here. Galatea herself looked vapid and empty. The rest of the painting indicated pure ignorance on the part of the painter. I shook my head in confusion. The giant Polyphemus was depicted with two normal eyes, when clearly he ought to have but one. Triton, for his horn, was using not a shell but an actual trumpet of brass. I nearly laughed aloud at that observation; would not such an instrument be completely destroyed by seawater? Who the devil had painted this monstrosity?”

IgnorancePaintingPainterRaphaelVapidApotheosisTritonBad ArtGalateaFresco
Book:Paint
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“Andrea turned her back to Desandra and rolled her eyes. Raphael grimaced. They both looked scandalized. Dear God, what could she have said to scandalize a bouda... “No, really!” Desandra nodded. “Okay, so most guys don’t have a nice ball sack, right? It looks all hairy and wrinkled like some small animal died between their legs, but Gerardo’s is like two plums in a velvet bag...” Derek, who’d been lingering in the doorway, took a careful step to the left behind the wall and disappeared from my view. Kill me, somebody. I raised my hand. “Hold that thought. I need to borrow Andrea for a minute.” I grabbed her arm and pulled her into the hallway. Behind us Raphael growled, “Don’t leave me!” Andrea leaned towards me. “Plums.” “Listen...” Andrea raised her hands, imitating holding plums the size of small coconuts, and moved them up and down.”

RaphaelKate DanielsAndrea Nash
Book:Magic Rises
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“Within the time span of a single generation surrounding the year 1500, Leonardo, Michelangelo, and Raphael created their many masterworks of the High Renaissance, revealing the birth of the new human as much in da Vinci's multiform genius and the godlike incarnations of the David and the Sistine Creation of Adam as in the new perspectival objectivity and poietic empowerment of the Renaissance artist; Columbus sailed west and reached America, Vasco da Gama sailed east and reached India, and the Magellan expedition circumnavigated the globe, opening the world forever to itself; Luther posted his theses on the door of the Wittenberg castle church and began the enormous convulsion of Europe and the Western psyche called the Reformation; and Copernicus conceived the heliocentric theory and began the even more momentous Scientific Revolution. From this instant, the human self, the known world, the cosmos, heaven and earth were all radically and irrevocably transformed. All this happened within a period of time briefer than that which has passed since Woodstock and the Moon landing. (p. 4)”

ArtLeonardoRaphaelMichelangeloTransformation Of ConsciousnessRichard TarnasCosmos And PsycheThe Renaissance
Book:Cosmos and Psyche: Intimations of a New World View
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“There's a phrase, "sitzfleisch", which means just plain sitting on your ass and getting it done. Just showing up for work. My uncle Raphael was a painter, and he used to say, "If the muse is late for work, start without her". You have to be there. You have to be there, and do it, and grind it out, even when it is grinding and you know you're probably going to rewrite all this tomorrow.”

IfsKnowsWritingMeanDoneUsedTomorrowLateSittingAssPainterPhrasesMuseUnclesGrindShowing UpRaphael
Author:Peter S. Beagle
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“It is saying less than the truth to affirm that an excellent book (and the remark holds almost equally good of a Raphael as of a Milton) is like a well-chosen and well-tended fruit tree. Its fruits are not of one season only. With the due and natural intervals, we may recur to it year after year, and it will supply the same nourishment and the same gratification, if only we ourselves return to it with the same healthful appetite.”

IfsYearsWellsMayBookNaturalTreeReturnSeasonsFruitDuesChosenExcellentAppetiteRemarksGratificationNourishmentIntervalsMiltonRaphaelFruit TreesSaying Less
Book:The Complete Works of Samuel Taylor Coleridge: With an Introductory Essay Upon His Philosophical and Theological Opinions
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“I know that if I feel any deprivation or fear [about money], the solution is to give. The solution is to go find some mothers on the streets of San Raphael and give them tens and twenties and mail off another $50 to Doctors Without Borders to use for the refugees in Kosovo. Because I know that giving is the way we can feel abundant. Giving is the way that we fill ourselves up.... For me the way to fill up is through service and sharing and getting myself to give more than I feel comfortable giving.”

IfsKnowsWayGivingFeelsUseMotherStreetsComfortableSolutionsDoctorsTwentiesBordersMailRefugeeDeprivationRaphaelKosovoDoctors Without Borders
Author:Anne Lamott
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“Every philosophy is complete in itself and, like a genuine work of art, contains the totality. Just as the works of Apelles and Sophocles, if Raphael and Shakespeare had known them, should not have appeared to them as mere preliminary exercises for their own work, but rather as a kindred force of the spirit, so, too reason cannot find in its own earlier forms mere useful preliminary exercises for itself.”

IfsShouldArtReasonPhilosophyFormSpiritForceKnownExerciseMereGenuineWorks Of ArtTotalityKindredRaphael
Author:Georg Wilhelm Friedrich Hegel
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“If we assiduously cultivate our powers of exaggeration, perhaps we, too, shall obtain the Paradise of Liars. And there Raphael shall paint for us scores and scores of his manifestly impossible pictures... and Shakespeare will lie to us of fabulous islands far past 'the still-vex'd Bermoothes,' and bring us fresh tales from the coast of Bohemia. For no one will speak the truth there, and we shall all be perfectly happy.”

IfsStillsPastLyingSpeakImpossiblePaintTalesIslandsParadiseScoreLiarsCoastFabulousExaggerationSpeak The TruthRaphaelVexBohemia
Author:James Branch Cabell
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“For - to say a few words on technique - whereas the curved line was used predominantly for reasons of beauty, (Phidias, Michelangelo, Raphael, Rubens) it has been used more and more economically for reasons of truth (Millet, Monet, Paul Cézanne) until it will end as the straight line for reasons of Love. This will enable the art of the future to create an international form; a form understandable to all and vital enough to the expression of a general feeling of love in a monumental way. Such is the future.”

WayHas BeensArtEndsReasonEnoughFeelingsFormUsedLinesExpressionInternationalTechniqueStraight LinesFew WordsRaphaelMonetRubensPhidias
Author:Theo van Doesburg
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“The names of great painters are like passing-bells: in the name of Velasquez you hear sounded the fall of Spain; .in the name of Titian, that of Venice; in the name of Leonardo, that of Milan; in the name of Raphael, that of Rome. And there is profound justice in this, for in proportion to the nobleness of the power is the guilt of its use for purposes vain or vile; and hitherto the greater the art, the more surely has it been used, and used solely, for the decoration of pride or the provoking of sensuality.”

ArtUseUsedPurposeFallNamesJusticeGreaterPrideGuiltProfoundPassingPassingsPainterSensualityVainProportionRomeBellsProvokingSpainVeniceDecorationLeonardoRaphaelMilan
Author:John Ruskin
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“In our minds lives the madonna image--the all-embracing, all- giving tranquil mother of a Raphael painting, one child at her breast, another at her feet; a woman fulfilled, one who asks nothing more than to nurture and nourish. This creature of fantasy, this myth, is the model--the unattainable ideal against which women measure, not only their performance, but their feelings about being mothers.”

GivingMindChildrenFeelingsMotherAsksFantasyFeetPaintingCreaturesModelsIdealsPerformancesMythBreastsFulfilledNurtureTranquilBeing A MotherUnattainableRaphael
Author:Lillian B. Rubin
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“A culture that gave the world the spiritual creations of the Classical Music of Mozart, Beethoven, Wagner and Schubert, the paintings of Michelangelo, and Raphael, Da Vinci and Rembrandt, does not need lessons from societies whose idea of spirituality is a heaven peopled with female virgins for the use of men, whose idea of heaven resembles a cosmic brothel.”

MenWorldNeedsDoeIdeasUseSpiritualCultureSpiritualityHeavenCreationPaintingLessonsFemaleCosmicVirginsClassical MusicWagnerRaphaelBrothelsSchubert
Book:Virgins? What Virgins?: And Other Essays
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“Witch Baby wanted to ask Ping how to find her Jah-Love angel. She knew Raphael was not him, even though Raphael had the right eyes and smile and name. She knew how he looked--the angel in her dream--but she didn't know how to find him. Should she roller-skate through the streets in the evenings when the streetlights flicker on? Should she stow away to Jamaica on a cruise ship and search for him in the rain forests and along the beaches? Would he come to her? Was he waiting, dreaming of her in the same way she waited and dreamed?”

KnowsWayShouldDreamEyeWantedAsksNamesWaitingKnow HowStreetsBabyAngelRainForestsShipsEveningBeachWitchCruiseSkatesFlickerJamaicaRaphaelPingCruise Ships
Author:Francesca Lia Block
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“I wouldn't change it," Simon said. "I wouldn't give up loving you. Not for anything. You know what Raphael told me? That I didn't know how to be a good vampire, that vampires accept that they're dead. But as long as I remember what it was like to love you, I'll always feel like I'm alive.”

KnowsGivingFeelsLongSaidRememberAcceptingKnow HowAliveLove YouGiving UpVampireUnrequited LoveLoving YouUnrequitedSimon LewisI'm AliveRaphael
Book:Cassandra Clare: The Mortal Instrument Series (3 books): City of Bones; City of Ashes; City of Glass
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“As he passed me, he leaned to Curran and handed him a paper fan folded from some sort of flyer. Curran looked at the fan. “What?” "An emergency precaution, Your Majesty. In case the lady faints.” Curran just stared at him. Raphael strode toward the Pit, turned, flexed a bit, and winked at me. "Give me that,” I told Curran. “I need to fan myself.” "No, you don’t.”

NeedsGivingBitsCasesFansPaperGive MeEmergenciesMajestyPitsPrecautionRaphaelFlyers
Book:Magic Strikes
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“Tell me something, Raphael?" He was already turning, heading to the door. "What is it you'd like to know, Guild Hunter?" She hid her smile at his slip. "What do I call you? Husband? Mate? Boyfriend?" Stopping with his hand on the doorknob, he shot her an inscrutable look. "You can call me 'Master'.”

KnowsLooksHandsDoorsMastersHusbandShotsCall MeMatesSlipsStoppingHuntersHeadingsHer SmileRaphaelInscrutableGuilds
Book:Archangel's Kiss
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