Portray Quotes (6 quotes)
“Talent is a long patience.” We must look on what we wish to express long enough and with enough attention to discover an aspect that has not been seen and portrayed by another. There is, in everything, something unexplored, because we always use our eyes only with the recollection of what has been thought before on the subject we are contemplating.
From Pierre et Jean (1888), as translated by Alexina Loranger in 'Introduction', Pierre et Jean (Peter and John) (1890), 38-39. The opening words are quoted from Gustave Flaubert. From the original French, “Le talent est une longue patience. — Il s’agit de regarder tout ce qu’on veut exprimer assez longtemps et avec assez d’attention pour en découvrir un aspect qui n’ait été vu et dit par personne. Il y a, dans tout, de l’inexploré, parce que nous sommes habitués à ne nous servir de nos yeux qu’avec le souvenir de ce qu’on a pensé avant nous sur ce que nous contemplons.”
Descriptive science is powerless to portray for me the bird or the flower or the friend I love; only art and literature can do that. Science deals with fixed concepts, art with fluid concepts.
From essay, 'A Prophet of the Soul', Under the Apple-Trees (1916), 210.
Iconography becomes even more revealing when processes or concepts, rather than objects, must be depicted–for the constraint of a definite ‘thing’ cedes directly to the imagination. How can we draw ‘evolution’ or ‘social organization,’ not to mention the more mundane ‘digestion’ or ‘self-interest,’ without portraying more of a mental structure than a physical reality? If we wish to trace the history of ideas, iconography becomes a candid camera trained upon the scholar’s mind.
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The long-range trend toward federal regulation, which found its beginnings in the Interstate Commerce Act of 1887 and the Sherman Act of 1890, which was quickened by a large number of measures in the Progressive era, and which has found its consummation in our time, was thus at first the response of a predominantly individualistic public to the uncontrolled and starkly original collectivism of big business. In America the growth of the national state and its regulative power has never been accepted with complacency by any large part of the middle-class public, which has not relaxed its suspicion of authority, and which even now gives repeated evidence of its intense dislike of statism. In our time this growth has been possible only under the stress of great national emergencies, domestic or military, and even then only in the face of continuous resistance from a substantial part of the public. In the Progressive era it was possible only because of widespread and urgent fear of business consolidation and private business authority. Since it has become common in recent years for ideologists of the extreme right to portray the growth of statism as the result of a sinister conspiracy of collectivists inspired by foreign ideologies, it is perhaps worth emphasizing that the first important steps toward the modern organization of society were taken by arch-individualists—the tycoons of the Gilded Age—and that the primitive beginning of modern statism was largely the work of men who were trying to save what they could of the eminently native Yankee values of individualism and enterprise.
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The wonders of the Grand Canyon cannot be adequately represented in symbols of speech, nor by speech itself. The resources of the graphic art are taxed beyond their powers in attempting to portray its features. Language and illustration combined must fail.
In Canyons of the Colorado (1895), 394.
Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking and observing, there we enter the realm of Art and Science. If what is seen is seen and experienced is portrayed in the language of logic, we are engaged in science. If it is communicated through forms whose connections are not accessible to the conscious mind but are recognized intuitively as meaningful, then we are engaged in art.
'What Artistic and Scientific Experience Have in Common', Menschen (27 Jan 1921). In Albert Einstein, Helen Dukas, Banesh Hoffmann, Albert Einstein, The Human Side (1981), 37-38. The article was published in a German magazine on modern art, upon a request from the editor, Walter Hasenclever, for a few paragraphs on the idea that there was a close connection between the artistic developments and the scientific results belonging to a given epoch. (The magazine name, and editor's name are given by Ze'ev Rosenkranz, The Einstein Scrapbook (2002), 27.