The disturbing quality of life goes hand in hand with the disturbing quality of our time. The temporal emphasizes the perpetual... I willingly accept what I try to bring together. In the heads of my 'King and Queen' (Moore created in 1952/53] or in the head and the body of my 'Warrior' [1953/54], some mixture of degrees of realism is implicit. But we got used to this mixture in Chartres [the famous Gothic cathedral], and we shall get used to it again. I do not suggest that I have intentionally done it... It is just that in the head part I could focus, in essence, the intention of the entire figure... By contrasting the head to the natural structure of the rest, the whole idea of the figure is pointed out – it is these contrasts which do it.
Henry MooreRelated topics
body cathedral done entire gothic head idea king natural quality queen realism rest temporal try warrior Moore Chartres headsRelated quotes
The structure of the nobility is changed along with that of the state, but it preserves its continuity with the past intact. Knighthood, on the other hand, as the exclusive warrior-class and upholder of secular culture, decays completely. The process is protracted and the ideals of chivalry do not lose their alluring splendour from one day to the next-least of all in the eyes of the middle classes. But behind the scenes everything is set for the fall of Don Quixote.-The decline of the knighthood has been connected with the new methods of warfare introduced in the late Middle Ages, and it has been pointed out that the heavily accoutred cavalry suffered a severe reverse whenever they met the infantry of the new mercenary armies or the foot of the peasant brigades.
Arnold Hauser
I wasn't aware of Chargaff's rules when he said them, but the effect on me was quite electric because I realized immediately that if you had this sort of scheme that John Griffith was proposing, of adenine being paired with thymine, and guanine being paired with cytosine, then you should get Chargaff's rules. I was very excited, but I didn't actually tell Chargaff because it was something I was doing with John Griffith.... This was very exciting, and we thought "ah ha!" and we realized - I mean what anyone who is familiar with the history of science ought to realize - that when you have one-to-one ratios, it means things go to together. And how on Earth no one pointed out this simple fact in those years, I don't know.
Francis Crick
I believe that new art must differ totally in its manifestation from art as we know it, and people may be very reluctant to accept this. It is perhaps true to say, as someone did of cubism, that 'To sum up: since art is a need to create rather than imitate, the 'cubists' rousing themselves from the sentimentality born of the picturesque aspect of some natural spectacle or other, disengage the fleeting aspects from those which are constant and absolute, and with the aid of these two elements, construct a reality equivalent to that which they see before them'. Thus it is a question of finding the true equivalence (that, offered by Cubism is still not true equivalence), and this can only be 'that which is not nature at all, and is nonetheless one with nature.
Piet Mondrian
Centuries ago, sailors on long voyages used to leave a pair of pigs on every deserted island. Or they'd leave a pair of goats. Either way, on any future visit, the island would be a source of meat. These islands, they were pristine. These were home to breeds of birds with no natural predators. Breeds of birds that lived nowhere else on earth. The plants there, without enemies they evolved without thorns or poisons. Without predators and enemies, these islands, they were paradise. The sailors, the next time they visited these islands, the only things still there would be herds of goats or pigs. .... Does this remind you of anything Maybe the ol' Adam and Eve story .... You ever wonder when God's coming back with a lot of barbecue sauce.
Chuck Palahniuk
Ansara was sprinting up the tunnel, increasing the gap, but Moore was beginning to slow as he heard the thundering boots of men coming down the staircase behind them. He stopped, spun around, and dropped onto his belly as, lit by the flickering light from the tunnel entrance, a figure rushed forward, arm extended. For just a heartbeat Moore glimpsed his assailant's face: the cartel truck's driver.
Propped up on his elbows now, Moore fired once into the figure's chest, the round booting him sideways into the panels before he fell onto his back.
From behind him came two more men, the rest of the weapons-transfer crew, their Belgian-made cop-killer pistols flashing, the shots booming through the tunnel as one 5.7x28-millimeter round struck the pipe near Moore's elbow.
Tom Clancy