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Shapes Quotes

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Shapes Quotes

“Being an artist and being a teacher are two conflicting things. When I paint, my work manifests the unexpected... In teaching it's just the opposite. I must account for every line, shape and colour and I am forced to give an explanation of the inexplicable and account for the variety of styles the students present.”

“If we could understand the full significance of a woman's hat we could prophesy her clothes for the next year, the interior decoration of the next two years, the architecture of the next ten years, and we would have a fairly accurate notion of the pressures, political, economic and religious that go to make the shape of an age.”

“I think when a man first discovers that two and two is four, there is 'beauty' in that; and we can see why. But if people stand and look at the moon and one says 'I think it's just beautiful tonight' and the other says 'The moon makes me feel awful' we are both 'clear'. A geometric shape - we know why we like it; and an unreasonable shape; it has a certain mystery that we recognize as real; but it is difficult to put these things in an objective way.”

“There was no wind; there was no passing shadow on the deep shade of the night; there was no noise. The city lay behind him, lighted here and there, and starry worlds were hidden by the masonry of spire and roof that hardly made out any shapes against the sky. Dark and lonely distance lay around him everywhere, and the clocks were faintly striking two.”

“An amoeba is a formless thing which takes many shapes. It moves by thrusting out an arm, and flowing into the arm. It multiplies by pulling itself in two, without permanently diminishing the original. So with words. A meaning may develop on the periphery of the body of meanings associated with a word, and shortly this tentacle-meaning has grown to such proportions that it dwarfs all other meanings.”

“They say that 'history is an argument without end.' In Thompson's skillful hands, this momentous argument between two old friends on the most critical issue of the last century is thus history at its best. Thompson's judicious and delicious depiction of Nitze and Kennan will fascinate anyone who cares about the Cold War or the ways that human beings shape the future.”

“Passion is present when a man can distinguish between the wine and the container. Two men see a loaf of bread. One hasn't eaten anything for ten days. The other has eaten five times a day, every day. He sees the shape of the loaf. The other man with his urgent need sees inside into the taste, and into the nourishment the bread could give. Be that hungry, to see within all beings the Friend.”

“Do you think it interests me that this painting represents two figures? These two figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. For me they are no longer two figures but shapes and colours, don't misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence.”

“I chose to be a photographer twenty-two years ago, but I don't know that I'd make that choice again. Back in the early eighties, I still thought I was doing okay, trying to order and shape the world with my camera. Now that I know a bit more about living and dying, about our planet and its complex problems, I'm a lot less comfortable with my images of people. Still, I haven't a clue what else to do.”

“The President? Hmmm, I wonder who that might be? Could it be, perhaps, the sitting two-term incumbent of the same party holding its convention? The person whose economic and military policies shape the environment the next president will deal with? As best I can tell, in the tens of thousands of words making up the combined remarks of John McCain, Sarah Palin, Rudy Giuliani, Mike Huckabee, Mitt Romney, Fred Thompson, and Lindsay Graham, the Name That Must Not Be Uttered appeared exactly once.”

“Curiously enough, the only two plays that I've done very much revision on were the two adaptations - even though the shape of them was pretty much determined by the original work. With my own plays, the only changes, aside from taking a speech out here, putting one in there (if I thought I dwelled on a point a little too long or didn't make it explicit enough), are very minor; but even though they're very minor - having to do with the inability of actors or the unwillingness of the director to go along with me - I've always regretted them.”

“Can and must! The proclamation of this new conception of [Joseph Stalin] is closed by the same words, "Such are in general the characteristic features of Lenin's conception of the proletarian revolution." In the course of a single year Stalin ascribed to [Vladimir] Lenin two directly opposed conceptions of the fundamental question of socialism. The first version represents the real tradition of the party; the second took shape in Stalin's mind only after the death of Lenin, in the course of the struggle against "Trotskyism".”

“Since each story presents its own technical problems, obviously one can't generalize about them on a two-times-two-equals-four basis. Finding the right form for your story is simply to realize the most natural way of telling the story. The test of whether or not a writer has defined the natural shape of his story is just this: After reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final? As an orange is final. As an orange is something nature has made just right.”

“I never was in love - yet the voice and the shape of a woman has haunted me these two days.”

“What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, criscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.”

“Anyway, now she thinks of Estha and Rahel as Them, because, separately, the two of them are no longer what They were or ever thought They would be. Ever. Their lives have a size and a shape now. Estha has his and Rahel hers. Edges, Borders, Boundaries, Brinks and Limits have appeared like a team of trolls on their separate horizons. Short creatures with long shadows, patrolling the Blurry End. Gentle half-moons have gathered under their eyes and they are as old as Ammu was when she died.”

“Once I heard my mother say that each of us lives in a separate universe, one we have dreamed into being. We love pople when their dream coincides with ours, the way two cutout designs laid one on top of the other might match. But dream worlds are not static like cutouts; sooner or later they change shape, leading to misunderstanding, loneliness and loss of love.”