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Painting Quotes (44 quotes)

A large number of areas of the brain are involved when viewing equations, but when one looks at a formula rated as beautiful it activates the emotional brain—the medial orbito-frontal cortex—like looking at a great painting or listening to a piece of music. … Neuroscience can’t tell you what beauty is, but if you find it beautiful the medial orbito-frontal cortex is likely to be involved; you can find beauty in anything.
As quoted in James Gallagher, 'Mathematics: Why The Brain Sees Maths As Beauty,' BBC News (13 Feb 2014), on bbc.co.uk web site.
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A painter makes patterns with shapes and colours, a poet with words. A painting may embody an “idea,” but the idea is usually commonplace and unimportant. In poetry, ideas count for a good deal more; but, as Housman insisted, the importance of ideas in poetry is habitually exaggerated. … The poverty of ideas seems hardly to affect the beauty of the verbal pattern. A mathematician, on the other hand, has no material to work with but ideas, and so his patterns are likely to last longer, since ideas wear less with time than words.
In A Mathematician’s Apology (1940, 2012), 84-85.
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All of my knowledge, of both science and religion, I incorporate into the classical tradition of my painting.
In G. Barry Golson (ed.), The Playboy Interview II (1983), 35.
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And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art…
From 'Preface' in Course in the Art of Measurement with Compass and Ruler (1525). As quoted in Stacey Bieler, Albrecht Durer: Artist in the Midst of Two Storms (2017), 189.
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As for types like my own, obscurely motivated by the conviction that our existence was worthless if we didn’t make a turning point of it, we were assigned to the humanities, to poetry, philosophy, painting—the nursery games of humankind, which had to be left behind when the age of science began. The humanities would be called upon to choose a wallpaper for the crypt, as the end drew near.
From More Die of Heartbreak (1987, 1997), 246-247.
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Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modern chemistry and modern algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.
Attributed.
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Could Hamlet have been written by a committee, or the “Mona Lisa” painted by a club? Could the New Testament have been composed as a conference report? Creative ideas do not spring from groups. They spring from individuals. The divine spark leaps from the finger of God to the finger of Adam, whether it takes ultimate shape in a law of physics or a law of the land, a poem or a policy, a sonata or a mechanical computer.
Baccalaureate address (9 Jun 1957), Yale University. In In the University Tradition (1957), 156.
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Does it not seem as if Algebra had attained to the dignity of a fine art, in which the workman has a free hand to develop his conceptions, as in a musical theme or a subject for a painting? It has reached a point where every properly developed algebraical composition, like a skillful landscape, is expected to suggest the notion of an infinite distance lying beyond the limits of the canvas.
In 'Lectures on the Theory of Reciprocants', Lecture XXI, American Journal of Mathematics (Jul 1886), 9, No. 3, 136.
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Domesticated biotechnology, once it gets into the hands of housewives and children, will give us an explosion of diversity of new living creatures … New lineages will proliferate to replace those that monoculture farming and deforestation have destroyed. Designing genomes will be a personal thing, a new art form as creative as painting or sculpture. Few of the new creations will be masterpieces, but a great many will bring joy to their creators and variety to our fauna and flora.
In 'Our Biotech Future', The New York Review of Books (2007). As quoted and cited in Kenneth Brower, 'The Danger of Cosmic Genius', The Atlantic (Dec 2010).
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Engineering, medicine, business, architecture and painting are concerned not with the necessary but with the contingent—not with how things are but with how they might be—in short, with design.
In The Sciences of the Artificial (1996), xii.
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Fractal is a word invented by Mandelbrot to bring together under one heading a large class of objects that have [played] … an historical role … in the development of pure mathematics. A great revolution of ideas separates the classical mathematics of the 19th century from the modern mathematics of the 20th. Classical mathematics had its roots in the regular geometric structures of Euclid and the continuously evolving dynamics of Newton. Modern mathematics began with Cantor’s set theory and Peano’s space-filling curve. Historically, the revolution was forced by the discovery of mathematical structures that did not fit the patterns of Euclid and Newton. These new structures were regarded … as “pathological,” .… as a “gallery of monsters,” akin to the cubist paintings and atonal music that were upsetting established standards of taste in the arts at about the same time. The mathematicians who created the monsters regarded them as important in showing that the world of pure mathematics contains a richness of possibilities going far beyond the simple structures that they saw in Nature. Twentieth-century mathematics flowered in the belief that it had transcended completely the limitations imposed by its natural origins.
Now, as Mandelbrot points out, … Nature has played a joke on the mathematicians. The 19th-century mathematicians may not have been lacking in imagination, but Nature was not. The same pathological structures that the mathematicians invented to break loose from 19th-century naturalism turn out to be inherent in familiar objects all around us.
From 'Characterizing Irregularity', Science (12 May 1978), 200, No. 4342, 677-678. Quoted in Benoit Mandelbrot, The Fractal Geometry of Nature (1977, 1983), 3-4.
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Gas Lights - Without Oil, Tallow, Wicks or Smoke. It is not necessary to invite attention to the gas lights by which my salon of paintings is now illuminated; those who have seen the ring beset with gems of light are sufficiently disposed to spread their reputation; the purpose of this notice is merely to say that the Museum will be illuminated every evening until the public curiosity be gratified.
[Promoting the gas lights Peale installed to attract paying visitors to his museum of portraits and natural history exhibits.]
First advertisement for Peale's Baltimore Museum and Gallery of Fine Arts, American and Commercial Daily Advertiser (13 Jun 1816) (source)
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I am told that the wall paintings which we had the happiness of admiring in all their beauty and freshness [in the chapel she discovered at Abu Simbel] are already much injured. Such is the fate of every Egyptian monument, great or small. The tourist carves it over with names and dates, and in some instances with caricatures. The student of Egyptology, by taking wet paper “squeezes” sponges away every vestige of the original colour. The “Collector” buys and carries off everything of value that he can, and the Arab steals it for him. The work of destruction, meanwhile goes on apace. The Museums of Berlin, of Turin, of Florence are rich in spoils which tell their lamentable tale. When science leads the way, is it wonderful that ignorance should follow?
Quoted in Margaret S. Drower, The Early Years, in T.G.H. James, (ed.), Excavating in Egypt: The Egypt Exploration Society, 1882-1982 (1982), 10. As cited in Wendy M.K. Shaw, Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire (2003), 37. Also quoted in Margaret S. Drower, Flinders Petrie: A Life in Archaeology (1995), 57.
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In a purely technical sense, each species of higher organism—beetle, moss, and so forth, is richer in information than a Caravaggio painting, Mozart symphony, or any other great work of art. Consider the typical case of the house mouse, Mus musculus. Each of its cells contains four strings of DNA, each of which comprises about a billion nucleotide pairs organized into a hundred thousand structural nucleotide pairs, organized into a hundred thousand structural genes. … The full information therein, if translated into ordinary-sized printed letters, would just about fill all 15 editions of the Encyclopaedia Britannica published since 1768.
'The Biological Diversity Crisis: A Challenge to Science', Issues in Science and Technology (Fall 1985), 2:1, 22. Reprinted in Nature Revealed: Selected Writings, 1949-2006 (2006), 622.
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In addition to this it [mathematics] provides its disciples with pleasures similar to painting and music. They admire the delicate harmony of the numbers and the forms; they marvel when a new discovery opens up to them an unexpected vista; and does the joy that they feel not have an aesthetic character even if the senses are not involved at all? … For this reason I do not hesitate to say that mathematics deserves to be cultivated for its own sake, and I mean the theories which cannot be applied to physics just as much as the others.
(1897) From the original French, “Et surtout, leurs adeptes y trouvent des jouissances analogues á celles que donnent la peinture et la musique. Ils admirent la délicate harmonie des nombres et des formes; ils s’émerveillent quand une découverte nouvelle leur ouvre une perspective inattendue; et la joie qu’ils éprouvent ainsi n’a-t-elle pas le caractère esthétique, bien que les sens n’y prennent aucune part?...C’est pourquoi je n’hésite pas à dire que les mathématiques méritent d’être cultivées pour elles-mêmes et que les théories qui ne peuvent être appliquées á la physique doivent l’être comme les autres.” Address read for him at the First International Congress of Mathematicians in Zurich: '‘Sur les rapports de l’analyse pure et de la physique', in Proceedings of that Congress 81-90, (1898). Also published as 'L’Analyse et la Physique', in La Valeur de la Science (1905), 137-151. As translated in Armand Borel, 'On the Place of Mathematics in Culture', in Armand Borel: Œvres: Collected Papers (1983), Vol. 4, 420-421.
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In early times, medicine was an art, which took its place at the side of poetry and painting; to-day, they try to make a science of it, placing it beside mathematics, astronomy, and physics.
In Armand Trousseau and John Rose Cormack (trans.), Lectures on Clinical Medicine: Delivered at the Hôtel-Dieu, Paris (1869), Vol. 2, 40.
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In modern Europe, the Middle Ages were called the Dark Ages. Who dares to call them so now? … Their Dante and Alfred and Wickliffe and Abelard and Bacon; their Magna Charta, decimal numbers, mariner’s compass, gunpowder, glass, paper, and clocks; chemistry, algebra, astronomy; their Gothic architecture, their painting,—are the delight and tuition of ours. Six hundred years ago Roger Bacon explained the precession of the equinoxes, and the necessity of reform in the calendar; looking over how many horizons as far as into Liverpool and New York, he announced that machines can be constructed to drive ships more rapidly than a whole galley of rowers could do, nor would they need anything but a pilot to steer; carriages, to move with incredible speed, without aid of animals; and machines to fly into the air like birds.
In 'Progress of Culture', an address read to the Phi Beta Kappa Society at Cambridge, 18 July 1867. Collected in Works of Ralph Waldo Emerson (1883), 475.
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In scientific thought we adopt the simplest theory which will explain all the facts under consideration and enable us to predict new facts of the same kind. The catch in this criterion lies in the world “simplest.” It is really an aesthetic canon such as we find implicit in our criticisms of poetry or painting. The layman finds such a law as dx/dt = κ(d²x/dy²) much less simple than “it oozes,” of which it is the mathematical statement. The physicist reverses this judgment, and his statement is certainly the more fruitful of the two, so far as prediction is concerned. It is, however, a statement about something very unfamiliar to the plain man, namely the rate of change of a rate of change.
In 'Science and Theology as Art-Forms', Possible Worlds (1927), 227.
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It is with mathematics not otherwise than it is with music, painting or poetry. Anyone can become a lawyer, doctor or chemist, and as such may succeed well, provided he is clever and industrious, but not every one can become a painter, or a musician, or a mathematician: general cleverness and industry alone count here for nothing.
In Ueber die Anlage zur Mathematik (1900), 5. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 184.
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Mathematics is no more the art of reckoning and computation than architecture is the art of making bricks or hewing wood, no more than painting is the art of mixing colors on a palette, no more than the science of geology is the art of breaking rocks, or the science of anatomy the art of butchering.
In Lectures on Science, Philosophy and Art (1908), 29.
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Mathematics, rightly viewed, possesses not only truth, but supreme beauty—a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show.
Essay, 'The Study of Mathematics' (1902), collected in Philosophical Essays (1910), 73-74. Also collected in Mysticism and Logic: And Other Essays (1918), 60.
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Most of the arts, as painting, sculpture, and music, have emotional appeal to the general public. This is because these arts can be experienced by some one or more of our senses. Such is not true of the art of mathematics; this art can be appreciated only by mathematicians, and to become a mathematician requires a long period of intensive training. The community of mathematicians is similar to an imaginary community of musical composers whose only satisfaction is obtained by the interchange among themselves of the musical scores they compose.
In Anton Z. Capri, Quips, Quotes and Quanta: An Anecdotal History of Physics (2007), 151. The author described Lanczos invited up on the platform at the Trieste Conference to celebrate Dirac’s 70th birthday, and gave an impromptu quote by Lanczos speaking about Pauli. The author followed that unrelated topic with another beginning, “Here is a comment by Lanczos…” followed by the subject quote above.
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Music may be called the sister of painting, for she is dependent upon hearing, the sense which comes second and her harmony is composed of the union of proportional parts sounded simultaneously, rising and falling in one or more harmonic rhythms.
…...
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Nature is painting for us, day after day, pictures of infinite beauty, if only we have the eyes to see them.
Attributed. (?) Webmaster has not, so far, been able to verify any primary source (can you help?). The quote appears in various books, attributed to Ruskin without any source citation, at least as early as Phyllis Hobe, Tapestries of Life (1974), 102. Whereas other Ruskin quotes appear in 19th century quote collections, but this one does not seem to be, leaves uncertainty. Or, perhaps it is a restatement of some longer text. Or in a periodical article.
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Not since the Lord himself showed his stuff to Ezekiel in the valley of dry bones had anyone shown such grace and skill in the reconstruction of animals from disarticulated skeletons. Charles R. Knight, the most celebrated of artists in the reanimation of fossils, painted all the canonical figures of dinosaurs that fire our fear and imagination to this day.
In Wonderful Life: the Burgess Shale and the Nature of History (1990), 23. First sentence of chapter one.
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Now do you not see that the eye embraces the beauty of the whole world? It counsels and corrects all the arts of mankind... it is the prince of mathematics, and the sciences founded on it are absolutely certain. It has measured the distances and sizes of the stars it has discovered the elements and their location... it has given birth to architecture and to perspective and to the divine art of painting.
…...
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On entering his [John James Audubon] room, I was astonished and delighted to find that it was turned into a museum. The walls were festooned with all kinds of birds’ eggs, carefully blown out and strung on a thread. The chimney-piece was covered with stuffed squirrels, raccoons, and opossums; and the shelves around were likewise crowded with specimens, among which were fishes, frogs, snakes, lizards, and other reptiles. Besides these stuffed varieties, many paintings were arrayed on the walls, chiefly of birds.
In Richard Rhodes, John James Audubon: The Making of an American (2004), 36.
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Painting is a science, and should be pursued as an inquiry into the laws of nature. Why, then, may not landscape painting be considered as a branch of natural philosophy, of which pictures are but the experiments?
'The History of Landscape Painting', quoted in Charles Tomlinson, Collected Poems (1985), 33.
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Painting is but one single small mode of expressing my own cosmology, which enables me, through my genius and paranoia, to create a synthesis of nature impossible even for the scientist, because the scientist is too much involved in his specialization.
As quoted in 'Playboy Interview: Salvador Dalí, a candid conversation with the flamboyantly eccentric grand vizier of surrealism', Playboy Magazine (Jul 1964), 46, 48. Quoted and cited in Michael R. Taylor, 'God and the Atom: Salvador Dalí’s Mystical Manifesto and the Contested Origins of Nuclear Painting', Avant-garde Studies (Fall 2016), No. 2, 10.
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Painting the desert, sun-setting the tone
Starving backstage, morning-stars are jaded
The moonshine murmur still shivers alone
Curved slice of sliver, shear breath shadows stone
Suspending twilight shiny and shaded
Painting the desert, sun-setting the tone
Carving solace into silver in June
On horizons’ glow from forgotten gold
The moonshine’s’ shilling delivers alone
Gleaming duels of knights, pierce deathly silence
Steel tines of starlight, clashing swords they hold
Painting the desert, sun-setting the tone
Dimples aware, sparkle sand on the dune
Winking at comets, after tails are told
The moon-sand whispers, sift rivers alone
Sharpness they hone, filing skills onto stone
Starlight dazzles, its own space created
Painting the desert, sun-setting the tone
From owls’ talon, moonlight shimmers alone
Earth Man
…...
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Red is the color in which the interior of the body is painted. If an operation be thought of as a painting in progress, and blood red the color on the brush, it must be suitably restrained and attract no undue attention; yet any insufficiency of it will increase the perishability of the canvas.
In 'Letter to a Young Surgeon II', Letters to a Young Doctor (1996), 47.
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Science discovery is an irrational act. It’s an intuition which turns out to be reality at the end of it. I see no difference between a scientist developing a marvellous discovery and an artist making a painting
From 'Asking Nature', collected in Lewis Wolpert and Alison Richards (eds.), Passionate Minds: The Inner World of Scientists (1997), 197.
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That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
Letter to Ludovico Cigoli. Quoted in Robert Enggass, Jonathan Brown, Italian and Spanish Art, 1600-1750 (1992), 22.
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The belief that mathematics, because it is abstract, because it is static and cold and gray, is detached from life, is a mistaken belief. Mathematics, even in its purest and most abstract estate, is not detached from life. It is just the ideal handling of the problems of life, as sculpture may idealize a human figure or as poetry or painting may idealize a figure or a scene. Mathematics is precisely the ideal handling of the problems of life, and the central ideas of the science, the great concepts about which its stately doctrines have been built up, are precisely the chief ideas with which life must always deal and which, as it tumbles and rolls about them through time and space, give it its interests and problems, and its order and rationality. That such is the case a few indications will suffice to show. The mathematical concepts of constant and variable are represented familiarly in life by the notions of fixedness and change. The concept of equation or that of an equational system, imposing restriction upon variability, is matched in life by the concept of natural and spiritual law, giving order to what were else chaotic change and providing partial freedom in lieu of none at all. What is known in mathematics under the name of limit is everywhere present in life in the guise of some ideal, some excellence high-dwelling among the rocks, an “ever flying perfect” as Emerson calls it, unto which we may approximate nearer and nearer, but which we can never quite attain, save in aspiration. The supreme concept of functionality finds its correlate in life in the all-pervasive sense of interdependence and mutual determination among the elements of the world. What is known in mathematics as transformation—that is, lawful transfer of attention, serving to match in orderly fashion the things of one system with those of another—is conceived in life as a process of transmutation by which, in the flux of the world, the content of the present has come out of the past and in its turn, in ceasing to be, gives birth to its successor, as the boy is father to the man and as things, in general, become what they are not. The mathematical concept of invariance and that of infinitude, especially the imposing doctrines that explain their meanings and bear their names—What are they but mathematicizations of that which has ever been the chief of life’s hopes and dreams, of that which has ever been the object of its deepest passion and of its dominant enterprise, I mean the finding of the worth that abides, the finding of permanence in the midst of change, and the discovery of a presence, in what has seemed to be a finite world, of being that is infinite? It is needless further to multiply examples of a correlation that is so abounding and complete as indeed to suggest a doubt whether it be juster to view mathematics as the abstract idealization of life than to regard life as the concrete realization of mathematics.
In 'The Humanization of Teaching of Mathematics', Science, New Series, 35, 645-46.
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The canons of art depend on what they appeal to. Painting appeals to the eye, and is founded on the science of optics. Music appeals to the ear and is founded on the science of acoustics. The drama appeals to human nature, and must have as its ultimate basis the science of psychology and physiology.
In Letter (Jul 1883) to Marie Prescott, in Oscar Wilde, ‎Jules Barbey d'Aurevilly, ‎Lady Wilde, The Writings of Oscar Wilde (1907), Vol. 15, 153-154.
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The world’s the book where the eternal sense
Wrote his own thoughts; the living temple where,
Painting his very self, with figures fair
He filled the whole immense circumference.
In 'Some Sonnets of Campanella', The Cornhill Magazine (Nov 1877), 36, 549.
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There is a great deal of emotional satisfaction in the elegant demonstration, in the elegant ordering of facts into theories, and in the still more satisfactory, still more emotionally exciting discovery that the theory is not quite right and has to be worked over again, very much as any other work of art—a painting, a sculpture has to be worked over in the interests of aesthetic perfection. So there is no scientist who is not to some extent worthy of being described as artist or poet.
'Scientist and Citizen', Speech to the Empire Club of Canada (29 Jan 1948), The Empire Club of Canada Speeches (29 Jan 1948), 209-221.
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There is one great difficulty with a good hypothesis. When it is completed and rounded, the corners smooth and the content cohesive and coherent, it is likely to become a thing in itself, a work of art. It is then like a finished sonnet or a painting completed. One hates to disturb it. Even if subsequent information should shoot a hole in it, one hates to tear it down because it once was beautiful and whole. One of our leading scientists, having reasoned a reef in the Pacific, was unable for a long time to reconcile the lack of a reef, indicated by soundings, with the reef his mind told him was there.
In John Steinbeck and Edward Flanders Ricketts Sea of Cortez: a Leisurely Journal of Travel and Research (1941), 179-80.
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There were details like clothing, hair styles and the fragile objects that hardly ever survive for the archaeologist—musical instruments, bows and arrows, and body ornaments depicted as they were worn. … No amounts of stone and bone could yield the kinds of information that the paintings gave so freely
As quoted in Current Biography Yearbook (1985), 259.
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To say that science is logical is like saying that a painting is paint.
As quoted in George Johnson, 'The Memory Machine', In the Palaces of Memory: How We Build the Worlds Inside Our Heads (1991), 194.
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Where we reach the sphere of mathematics we are among processes which seem to some the most inhuman of all human activities and the most remote from poetry. Yet it is just here that the artist has the fullest scope for his imagination. … We are in the imaginative sphere of art, and the mathematician is engaged in a work of creation which resembles music in its orderliness, … It is not surprising that the greatest mathematicians have again and again appealed to the arts in order to find some analogy to their own work. They have indeed found it in the most varied arts, in poetry, in painting, and in sculpture, although it would certainly seem that it is in music, the most abstract of all the arts, the art of number and time, that we find the closest analogy.
In The Dance of Life (1923), 138-139.
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You can prepare yourself for work. The paintings of the great masters, the compositions of great musicians, the sermons of great preachers, the policies of great statesmen, and the campaigns of great generals, do not spring full bloom from barren rock. … If you are a true student you will be more dissatisfied with yourself when you graduate than you are now.
From Cameron Prize Lecture (1928), delivered before the University of Edinburgh. As quoted in J.B. Collip 'Frederick Grant Banting, Discoverer of Insulin', The Scientific Monthly (May 1941), 52, No. 5, 473-474.
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Burned deforestation photo+quote Destroying rain forest for economic gain is like burning a Renaissance painting to cook a meal
Lacandon jungle burned for agriculture in Chiapas, Mexico (by Jami Dwyer) (source)
[Destroying rain forest for economic gain] is like burning a Renaissance painting to cook a meal.
Quoted in R.Z. Sheppard, 'Nature: Splendor in The Grass', Time (3 Sep 1990)
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[L]et us not overlook the further great fact, that not only does science underlie sculpture, painting, music, poetry, but that science is itself poetic. The current opinion that science and poetry are opposed is a delusion. ... On the contrary science opens up realms of poetry where to the unscientific all is a blank. Those engaged in scientific researches constantly show us that they realize not less vividly, but more vividly, than others, the poetry of their subjects. Whoever will dip into Hugh Miller's works on geology, or read Mr. Lewes's “Seaside Studies,” will perceive that science excites poetry rather than extinguishes it. And whoever will contemplate the life of Goethe will see that the poet and the man of science can co-exist in equal activity. Is it not, indeed, an absurd and almost a sacrilegious belief that the more a man studies Nature the less he reveres it? Think you that a drop of water, which to the vulgar eye is but a drop of water, loses anything in the eye of the physicist who knows that its elements are held together by a force which, if suddenly liberated, would produce a flash of lightning? Think you that what is carelessly looked upon by the uninitiated as a mere snow-flake, does not suggest higher associations to one who has seen through a microscope the wondrously varied and elegant forms of snow-crystals? Think you that the rounded rock marked with parallel scratches calls up as much poetry in an ignorant mind as in the mind of a geologist, who knows that over this rock a glacier slid a million years ago? The truth is, that those who have never entered upon scientific pursuits know not a tithe of the poetry by which they are surrounded. Whoever has not in youth collected plants and insects, knows not half the halo of interest which lanes and hedge-rows can assume. Whoever has not sought for fossils, has little idea of the poetical associations that surround the places where imbedded treasures were found. Whoever at the seaside has not had a microscope and aquarium, has yet to learn what the highest pleasures of the seaside are. Sad, indeed, is it to see how men occupy themselves with trivialities, and are indifferent to the grandest phenomena—care not to understand the architecture of the Heavens, but are deeply interested in some contemptible controversy about the intrigues of Mary Queen of Scots!—are learnedly critical over a Greek ode, and pass by without a glance that grand epic written by the finger of God upon the strata of the Earth!
Education: Intellectual, Moral, and Physical (1889), 82-83.
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Carl Sagan Thumbnail In science it often happens that scientists say, 'You know that's a really good argument; my position is mistaken,' and then they would actually change their minds and you never hear that old view from them again. They really do it. It doesn't happen as often as it should, because scientists are human and change is sometimes painful. But it happens every day. I cannot recall the last time something like that happened in politics or religion. (1987) -- Carl Sagan
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- 100 -
Sophie Germain
Gertrude Elion
Ernest Rutherford
James Chadwick
Marcel Proust
William Harvey
Johann Goethe
John Keynes
Carl Gauss
Paul Feyerabend
- 90 -
Antoine Lavoisier
Lise Meitner
Charles Babbage
Ibn Khaldun
Euclid
Ralph Emerson
Robert Bunsen
Frederick Banting
Andre Ampere
Winston Churchill
- 80 -
John Locke
Bronislaw Malinowski
Bible
Thomas Huxley
Alessandro Volta
Erwin Schrodinger
Wilhelm Roentgen
Louis Pasteur
Bertrand Russell
Jean Lamarck
- 70 -
Samuel Morse
John Wheeler
Nicolaus Copernicus
Robert Fulton
Pierre Laplace
Humphry Davy
Thomas Edison
Lord Kelvin
Theodore Roosevelt
Carolus Linnaeus
- 60 -
Francis Galton
Linus Pauling
Immanuel Kant
Martin Fischer
Robert Boyle
Karl Popper
Paul Dirac
Avicenna
James Watson
William Shakespeare
- 50 -
Stephen Hawking
Niels Bohr
Nikola Tesla
Rachel Carson
Max Planck
Henry Adams
Richard Dawkins
Werner Heisenberg
Alfred Wegener
John Dalton
- 40 -
Pierre Fermat
Edward Wilson
Johannes Kepler
Gustave Eiffel
Giordano Bruno
JJ Thomson
Thomas Kuhn
Leonardo DaVinci
Archimedes
David Hume
- 30 -
Andreas Vesalius
Rudolf Virchow
Richard Feynman
James Hutton
Alexander Fleming
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Benjamin Franklin
Robert Oppenheimer
Robert Hooke
Charles Kettering
- 20 -
Carl Sagan
James Maxwell
Marie Curie
Rene Descartes
Francis Crick
Hippocrates
Michael Faraday
Srinivasa Ramanujan
Francis Bacon
Galileo Galilei
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Aristotle
John Watson
Rosalind Franklin
Michio Kaku
Isaac Asimov
Charles Darwin
Sigmund Freud
Albert Einstein
Florence Nightingale
Isaac Newton



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