Kepler's discovery would not have been possible without the doctrine of conics. Now contemporaries of Kepler-such penetrating minds as Descartes and Pascal-were abandoning the study of geometry ... because they said it was so UTTERLY USELESS. There was the future of the human race almost trembling in the balance; for had not the geometry of conic sections already been worked out in large measure, and had their opinion that only sciences apparently useful ought to be pursued, the nineteenth century would have had none of those characters which distinguish it from the ancien régime.
I don't have stylistic loyalty. That's why people perceive me changing all the time. But there is a real continuity in my subject matter. As an artist of artifice, I do believe I have more integrity than any one of my contemporaries.
I had no contact with my contemporaries in the photographic field, nor even knowledge of their work. So I was influenced by no-one and there were no short cuts for me. I was self-taught the hard way, by trial and error...
The religious geniuses of all ages have been distinguished by this kind of religious feeling, which knows no dogma and no God conceived in man's image; so that there can be no church whose central teachings are based on it. Hence it is precisely among the heretics of every age that we find men who were filled with this highest kind of religious feeling and were in many cases regarded by their contemporaries as atheists, sometimes also as saints. Looked at in this light, men like Democritus, Francis of Assisi, and Spinoza are closely akin to one another.
Those things for which the most money is demanded are never the things which the student most wants. Tuition, for instance, is an important item in the term bill, while for the far more valuable education which he gets by associating with the most cultivated of his contemporaries no charge is made.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting...
He [A. J. Balfour] was eminently one of the Cole Porter school of famous men, who only fell to rise again. Picking himself up and brushing himself down became a minor art form, ruefully admired by his contemporaries.
Trust thyself: every heart vibrates to that iron string. Accept the place the divine providence has found for you, the society of your contemporaries, the connection of events. Great men have always done so, and confided themselves childlike to the genius of their age, betraying their perception that the absolutely trustworthy was seated at their heart, working through their hands, predominating in all their being.