Contrast In Art Quotes

1. "My daughter is seven, and some of the other second-grade parents complain that their children don't read for pleasure. When I visit their homes, the children's rooms are crammed with expensive books, but the parent's rooms are empty. Those children do not see their parents reading, as I did every day of my childhood. By contrast, when I walk into an apartment with books on the shelves, books on the bedside tables, books on the floor, and books on the toilet tank, then I know what I would see if I opened the door that says 'PRIVATE--GROWNUPS KEEP OUT': a child sprawled on the bed, reading."
Author: Anne Fadiman

2. "Contrast that with the call of the Liberal Democrats in April, when they were prepared to call upon the British people to participate in a 24-hour strike. It shows how far to the right the Labour Party's gone."
Author: Arthur Scargill

3. "It was the face that disturbed me. The artist had lit it in such a way that it appeared very strong, actually, to my mind, brutal. The nose was long and thin, the full underlip protruberant [sic], and the blue eyes icy cold. There was a great deal of pride in his look - more than pride, arrogance, rather. I wondered if it were only animals he had hunted with that gun.Yet there was no doubt that the face was well done. The contrast between light and dark was evidence enough of the artist's skill. The man, I thought, must have actually been proud of the insolence and brutality which I saw in his face. Otherwise he would never have let the artist depict so clearly those aspects of his character."
Author: Barbara Cohen

4. "Marilyn, for her part, focused on what was driving Arthur away. She spoke of the monster inside her. By that she seems to have meant the rage that was in sharp contrast to the shyness and sweetness she tended to project. In the beginning, Marilyn said, Arthur had perceived her as a victim, beautiful and innocent. She tried to be those things for him. When inevitably the monster disclosed itself, Miller was shocked and disappointed. He started to pull back."
Author: Barbara Leaming

5. "Those who romanticize war often like to think of it, at least in areas of mortal peril, as nothing but "guts and glory." Those who are inclined to pacifism, by contrast, often think of it as an unbroken sequence of horrors. Actually, however, people in wartime still fall in love, do the laundry, worry about pimples, drink beer, and do most of the same things that they do in times of peace. The patterns of daily life may be mundane, but they are remarkably tenacious. But, while people in wartime still go about their daily routines, the prospect of imminent death can give even quotidian chores a heightened intensity. When the first bombs were dropped on London in autumn of 1940, the population bore adversity better than almost anybody had expected. The danger was mixed with excitement, and the terror had a sort of apocalyptic magnificence."
Author: Boria Sax

6. "That if a thing is defined in contrast that's what life is, the shadow of death. So the mystery of death couldn't be the bad thing, because without it there wouldn't be life. The badness was life, just happening, as essential a part of the good as the good. And what was there to do but to take it as it comes and to hope, to hope constantly and carnally and with no time to lose."
Author: Brian McGreevy

7. "The air of completeness and superiority with which she walked at my side, and the air of youthfulness and submission with which I walked at hers, made a contrast that I strongly felt. It would have rankled in me more than it did, if I had not regarded myself as eliciting it by being so set apart for her and assigned to her."
Author: Charles Dickens

8. "I was to grow used to hearing, around New York, the annoying way in which people would say: 'Edward Said, such a suave and articulate and witty man,' with the unspoken suffix 'for a Palestinian.' It irritated him, too, naturally enough, but in my private opinion it strengthened him in his determination to be an ambassador or spokesman for those who lived in camps or under occupation (or both). He almost overdid the ambassadorial aspect if you ask me, being always just too faultlessly dressed and spiffily turned out. Fools often contrasted this attention to his tenue with his membership of the Palestine National Council, the then-parliament-in-exile of the people without a land. In fact, his taking part in this rather shambolic assembly was a kind of noblesse oblige: an assurance to his landsmen (and also to himself) that he had not allowed and never would allow himself to forget their plight. The downside of this noblesse was only to strike me much later on."
Author: Christopher Hitchens

9. "In my heart is rooted in lovelessness and thanklessness.... By contrast, every truly holy act, including even the inner desire to be holy, springs out of the love and worship that He has placed in my heart."
Author: Elyse M. Fitzpatrick

10. "The rooms hidden behind the multitude of tents in Le Cirque des Rêves are a stark contrast to the black and white of the circus. Alive with color. Warm with glowing amber lamps. The space kept by the Murray twins is particularly vivid. A kaleidoscope of color, blazing with carmine and coral and canary, so much so that the entire room often appears to be on fire, dotted with fluffy kittens dark as soot and bright as sparks."
Author: Erin Morgenstern

11. "Human perfection and technical perfection are incompatible. If we strive for one, we must sacrifice the other: there is, in any case, a parting of the ways. Whoever realises this will do cleaner work one way or the other.Technical perfection strives towards the calculable, human perfection towards the incalculable. Perfect mechanisms - around which, therefore, stands an uncanny but fascinating halo of brilliance - evoke both fear and Titanic pride which will be humbled not by insight but only by catastrophe.The fear and enthusiasm we experience at the sight of perfect mechanisms are in exact contrast to the happiness we feel at the sight of a perfect work of art. We sense an attack on our integrity, on our wholeness. That arms and legs are lost or harmed is not yet the greatest danger."
Author: Ernst Jünger

12. "His youth seemed never so vanished as now in the contrast between the utter loneliness of this visit and that riotous, joyful party of four years before. Things that had been the merest commonplaces of his life then, deep sleep, the sense of beauty around him, all desire, had flown away and the gaps they left were filled only with the great listlessness of his disillusion."
Author: F. Scott Fitzgerald

13. "There's an interesting contrast between born Catholics and converts. Converts are often much more rule-directed. Catholicism isn't something that they breathed in from their childhood, so they think that if you don't toe the line on abstract doctrine you can't be part of the Church."
Author: Garry Wills

14. "We have given you, O Adam, no visage proper to yourself, nor endowment properly your own, in order that whatever place, whatever form, whatever gifts you may, with premeditation, select, these same you may have and possess through your own judgement and decision. The nature of all other creatures is defined and restricted within laws which We have laid down; you, by contrast, impeded by no such restrictions, may, by your own free will, to whose custody We have assigned you, trace for yourself the lineaments of your own nature [...]. We have made you a creature neither of heaven nor of earth, neither mortal nor immortal, in order that you may, as the free and proud shaper of your own being, fashion yourself in the form you may prefer. It will be in your power to descend to the lower, brutish forms of life; you will be able, through your own decision, to rise again to the superior orders whose life is divine."
Author: Giovanni Pico Della Mirandola

15. "The contrast between the familiar and the exceptional was everywhere around me. A bullock cart was drawn up beside a modern sports car at a traffic signal. A man squatted to relieve himself behind the discreet shelter of a satellite dish. An electric forklift truck was being used to unload goods from an ancient wooden cart with wooden wheels. The impression was of a plodding indefatigable and distant past that had crashed intact through barriers of time into its own future. I liked it."
Author: Gregory David Roberts

16. "To enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more. For this reason a sleeping apartment should never be furnished with a fire, which is one of the luxurious discomforts of the rich. For the height of this sort of deliciousness is to have nothing but the blanket between you and your snugness and the cold of the outer air. Then there you lie like the one warm spark in the heart of an arctic crystal."
Author: Herman Melville

17. "«Signora, dopo la guerra ritornerò. Mi permetta di tornare. Tutti i nostri contrasti tra Francia e Germania saranno vecchi... dimenticati... per almeno quindici anni. Una sera suonerò alla sua porta. Lei mi aprirà e non mi riconoscerà, perché sarò in abiti civili. Allora io dirò: "Sono... l'ufficiale tedesco... si ricorda? Ora c'è la pace, la felicità, la libertà. La porto via con me". Partiremo insieme. Le farò visitare molti paesi. Io naturalmente sarò un compositore famoso, e lei sarà bella come adesso...»"
Author: Irène Némirovsky

18. "She had a woman's swagger at twelve-and-a-half. Hair: strawberry-blonde, and I vaguely recall a daisy in the crook of her ear. She was an inch taller than me, two with the ponytail; smooth cheeks and darling brown eyes that marbled in luscious contrast with her magnolia skin; cream, melting to peach, melting to pink. She beamed like a cherub without the baby fat; a tender neck; pristine lips that would never part for a dirty word. Her body--of no interest to me at the time--was wrapped from neck to toes with home-made footie pajamas, the kind they make for toddlers, but I didn't laugh; the girl filled that silly one-piece ensemble as if it were couture."
Author: Jake Vander Ark

19. "I curled into a ball underneath my thick comforter, and inhaled through my nose; Travis' scent still lingered on my skin.The bed felt cold and foreign, a sharp contrast to the warmth of Travis' mattress. I had spent thirty days in a cramped apartment with Eastern's most infamous tramp, and after all the bickering and late-night houseguests, it was the only place I wanted to be."
Author: Jamie McGuire

20. "The hard part was living the contrast between being rich and being broke. It was like being smart, and waking up one day to find yourself dumb as a rock, but able to remember your former brains."
Author: John Elder Robison

21. "As she watched, he examined the can intently, read the ingredients, then returned it to the shelf and chose another, repeating his thorough study of it.The contrast between his rough, tough-guy appearance and the domestic act he was performing did funny things to her head.She had a sudden, breathtaking vision of a dark-haired little boy sitting in the seat of the cart, laughing up at Cian, grabbing at his swinging braids with chubby little fists, while his daddy inspected the ingredients on a jar of baby food. Her mind's eyepicture of sexy, strong man with beautiful, helpless child made something soft and warm blossom behind her chest."
Author: Karen Marie Moning

22. "Brush strokes write poetry harmonized through the cords of an artist's imagination.Color, contrast, simple compassion splattered across paper leaves tainted with the melody of the silent wind.Gasping, grasping, simply glancing at the souls of those who were not blessed with the visionary sight of inspirational artistry."
Author: Laura S. Al Bast

23. "After dinner Natasha went to the clavichord, at Prince Andrey's request, and began singing. Prince Andrey stood at the window, talking to the ladies, and listened to her. In the middle of a phrase, Prince Andrey ceased speaking, and felt suddenly a lump in his throat from tears, the possibility of which he had never dreamed of in himself. He looked at Natasha singing, and something new and blissful stirred in his soul. He was happy, and at the same time he was sad. He certainly had nothing to weep about, but he was ready to weep. For what? For his past love? For the little princess? For his lost illusions? For his hopes for the future? Yes, and no. The chief thing which made him ready to weep was a sudden, vivid sense of the fearful contrast between something infinitely great and illimitable existing in him, and something limited and material, which he himself was, and even she was. This contrast made his heart ache, and rejoiced him while she was singing."
Author: Leo Tolstoy

24. "Those at the very top of the class—are going to face a burden that they would not face in a less competitive atmosphere. Citizens of happy countries have higher suicide rates than citizens of unhappy countries, because they look at the smiling faces around them and the contrast is too great. Students at "great" schools look at the brilliant students around them, and how do you think they feel? The phenomenon of relative deprivation applied to education is called—appropriately enough—the "Big Fish–Little Pond Effect." The more elite an educational institution is, the worse students feel about their own academic abilities. Students who would be at the top of their class at a good school can easily fall to the bottom of a really good school. Students who would feel that they have mastered a subject at a good school can have the feeling that they are falling farther and farther behind in a really good school. And that feeling—as subjective and ridiculous and irrational"
Author: Malcolm Gladwell

25. "Against the new leviathan, whether in the guise of universal suffrage, democracy, or of an equally fraudulent triumphant proletariat, he (Kierkegaard) pitted the individual human soul made in the image of a God who was concerned about the fate of every living creature. In contrast with the notion of salvation through power, he held out the hope of salvation through suffering. The Cross against the ballot box or clenched fist; the solitary pilgrim against the slogan-shouting mob; the crucified Christ against the demagogue-dictators promising a kingdom of heaven on earth, whether achieved through endlessly expanding wealth and material well-being, or through the ever greater concentration of power and its ever more ruthless exercise."
Author: Malcolm Muggeridge

26. "Like many other men, Swann had a naturally lazy mind and lacked imagination. He knew perfectly well as a general truth that human life is full of contrasts, but in the case of each individual human being he imagined all that part of his or her life with which he was not familiar as being identical with the part with which he was. He imagined what was kept secret from him in the light of what was revealed."
Author: Marcel Proust

27. "I am a libertine, but I am not a criminal nor a murderer, and since I am compelled to set my apology alongside my vindication, I shall therefore say that it might well be possible that those who condemn me as unjustly as I have been might themselves be unable to offset the infamies by good works as clearly established as those I can contrast to my errors. And yet you who today tyrannize me so cruelly, you do not believe it either: your vengeance has beguiled your mind, you have proceeded blindly to tyrannize, but your heart knows mine, it judges it more fairly, and it knows full well it is innocent."
Author: Marquis De Sade

28. "Although sex was something they both regarded as perilous, marriage had, by contrast, seemed safe– a safe house in a world of danger; the ultimate haven of two solitary, fearful souls. When you were single, this was what everyone who was already married was always telling you. Daniel himself had said it to his unmarried friends. It was, however, a lie. Sex had everything to do with violence, that was true, and marriage was at once a container for the madness between men and women and a fragile hedge against it, as religion was to death, and the laws of physics to the immense quantity of utter emptiness of which the universe was made. But there was nothing at all safe about marriage. It was a doubtful enterprise, a voyage in an untested craft, across a hostile ocean, with a map that was a forgery and with no particular destination but the grave."
Author: Michael Chabon

29. "In a sexual double standard as to who receives consumer protection, it seems that if what you do is done to women in the name of beauty, you may do what you like. It is illegal to claim that something grows hair, or makes you taller, or restores virility, if it does not. It is difficult to imagine that the baldness remedy Minoxidil would be on the market if it had killed nine French and at least eleven American men. In contrast, the long-term effects of Retin-A are still unknown--Dr. Stuart Yusps of the National Cancer Institute refers to its prescription as "a human experiment"--and the Food and Drug Administration has not approved it yet dermatologists are prescribing it to women at a revenue of over $150 million a year."
Author: Naomi Wolf

30. "The source of wisdom and power, of love and beauty, is within ourselves, but not within our egos. It is within our consciousness. Indeed, its presence provides us with a conscious contrast which enables us to speak of the ego as if it were something different and apart: it is the true Self whereas the ego is only an illusion of the mind."
Author: Paul Brunton

31. "In marked contrast to the University of Wisconsin, Biochemistry was hardly visible at Stanford in 1945, consisting of only two professors in the chemistry department."
Author: Paul D. Boyer

32. "The existential attitude is one of involvement in contrast to a merely theoretical or detached attitude. "Existential" in this sense can be defined as participating in a situation, especially a cognitive situation, with the whole of one's existence....There are realms of reality or—more exactly—of abstraction from reality in which the most complete detachment is the adequate cognitive approach. Everything which can be expressed in terms of quantitative measurement has this character. But it is most inadequate to apply the same approach to reality in its infinite concreteness. A self which has become a matter of calculation and management has ceased to be a self. It has become a thing. You must participate in a self in order to know what it is. But by participating you change it. In all existential knowledge both subject and object are transformed by the very act of knowing."
Author: Paul Tillich

33. "For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day....To me, it's all art, inside the studio and out. At least it is if we approach our lives that way."
Author: Terri Windling

34. "In Britain, by contrast, we still think that class plays a part in determining a person's life chances, so we're less inclined to celebrate success and less inclined to condemn failure. The upshot is that it's much easier to be a failure in Britain than it is in America."
Author: Toby Young

35. "God's capacity to forgive is greater than our capacity to sin; while our sin reaches far, God's grace reaches farther. It's a message revealing the radical contrast between the sinful heart of mankind and the gracious heart of mankind's Creator."
Author: Tullian Tchividjian

36. "We will simply say here that, as a means of contrast with the sublime, the grotesque is, in our view, the richest source that nature can offer art. Rubens so understood it, doubtless, when it pleased him to introduce the hideous features of a court dwarf amid his exhibitions of royal magnificence, coronations and splendid ceremonial.The universal beauty which the ancients solemnly laid upon everything, is not without monotony; the same impression repeated again and again may prove fatiguing at last. Sublime upon sublime scarcely presents a contrast, and we need a little rest from everything, even the beautiful.On the other hand, the grotesque seems to be a halting-place, a mean term, a starting-point whence one rises toward the beautiful with a fresher and keener perception. The salamander gives relief to the water-sprite; the gnome heightens the charm of the sylph."
Author: Victor Hugo

37. "The attitude of our managers vividly contrasts with that of the young man who married a tycoon's only child, a decidedly homely and dull lass. Relieved, the father called in his new son- in-law after the wedding and began to discuss the future: Son, you're the boy I always wanted and never had. Here's a stock certificate for 50% of the company. You're my equal partner from now on.' Thanks, dad.'Now, what would you like to run? How about sales?' I'm afraid I couldn't sell water to a man crawling in the Sahara.' Well then, how about heading human relations?' I really don't care for people.' No problem, we have lots of other spots in the business. What would you like to do?' Actually, nothing appeals to me. Why don't you just buy me out?"
Author: Warren Buffett

38. "See the exquisite contrast of the types of mind! The pragmatist clings to facts and concreteness, observes truth at its work in particular cases, and generalises. Truth, for him, becomes a class-name for all sorts of definite working-values in experience. For the rationalist it remains a pure abstraction, to the bare name of which we must defer. When the pragmatist undertakes to show in detail just why we must defer, the rationalist is unable to recognise the concretes from which his own abstraction is taken. He accuses us of denying truth; whereas we have only sought to trace exactly why people follow it and always ought to follow it. Your typical ultra-abstractions fairly shudders at concreteness: other things equal, he positively prefers the pale and spectral. If the two universes were offered, he would always choose the skinny outline rather than the rich thicket of reality. It is so much purer, clearer, nobler."
Author: William James

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