Best 88 quotes in «renaissance quotes» category

Jobs, as such, are a relatively new concept. People may have always worked, but until the advent of the corporation in the early Renaissance, most people just worked for themselves. They made shoes, plucked chickens, or created value in some way for other people, who then traded or paid for those goods and services.

I was determined to make Renaissance Man Food Services and Herschel's Famous 34 major players in a very tough industry.

I went into Harvard one way and came out a different person... It's the air at Harvard; it's like a Renaissance court.

Now there is in a way a renaissance of modern dance - suddenly, it is more respected and discovered.

Marxism is like a classical building that followed the Renaissance; beautiful in its way, but incapable of growth.

Let us help the phoenix to rise from the ashes; let us help lay the foundation for a new renaissance; let us help to accelerate the spiritual awakening until it lifts us into the golden age which would come.

National liberation, national renaissance, the restoration of nationhood to the people, commonwealth: whatever may be the headings used or the new formulas introduced, decolonization is always a violent phenomenon.

Warhol turned to photographs of stars, as the Renaissance turned to antiquities, to find images of gods.

(on asparagus) Europeans of the Renaissance swore by it as an aphrodisiac, and the church banned it from nunneries.

Rapunzel is a bit more relatable than the other princesses, especially because she doesn't even know that she's a princess until the very end of the movie. I like to think of her as the bohemian Disney princess. She's barefoot and living in a tower. She paints and reads... She's a Renaissance woman.

Right now, scientists are in exactly the same position as Renaissance painters, commissioned to make the portrait the patron wants done, And if they are smart, they'll make sure their work subtly flatters the patron. Not overtly. Subtly.

The Renaissance… was based on a new idea of the importance of the individual. But this was a fragile foundation, because individuals depended on constant applause and admiration to sustain them. There is a shortage of applause in the world, and there is not enough respect to go around.

The time to recognize the power of community is here again. Not as some romanticized renaissance from times past, but as a necessarily new and innovative response to "life as it is offering itself to us.

PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.

Since the Renaissance, people have had to get used to living their life on a random planet in the vast galaxy.

Small pictures since the Renaissance are like novels; large pictures are like dramas in which one participates in a direct way.

Teller and I worked Renaissance Festivals and street performing - actually more real, no kidding around, Philadelphia street performing than we did Renaissance Festivals.

That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.

The Renaissance of Europe did not take place in the 15th century. Rather it began when Europe learned from the culture of the Arabs. The cradle of European awakening is not Italy. It is the Muslim Spain.

We'll be potters, we'll be painters, we'll be textile designers, we'll be jewelers, we'll be a little this, a little of that. We were going to be the renaissance people [when we were young].

We have entered, almost without noticing, an age of exploration and discovery unparalleled since the Renaissance.

When I was young, I was interested in Renaissance art.

We're lucky to be in the middle of a TV renaissance. It's the healthiest storytelling medium in our culture.

We may affirm, then, that the main drift of the later Renaissance was away from a humanism that favored a free expansion toward a humanism that was in the highest degree disciplinary and selective.

Who is this Renaissance? Where did he come from? Who gave him permission to cram the Republic with his execrable daubs?

But is is by no means those aspects of Dürer's style which it shares with Italian art that makes it so attractive especially for Pontormo and those who like him, but rather the spiritual depth and inwardness - in other words, the qualities which they miss most in classical Italian art. The antitheses of "Gothic" and "Renaissance", however, which are largely smoothed out in Dürer himself, are still irreconciled and irreconcilable in the outlook of mannerism.

You don't know Jay-Z's scedule. He's a renaissance man.

Culling is God's Natural Order. Ask yourself, What followed the Black Death? We all know the answer. The Renaissance. Rebirth.

D'autant que nous avons cher, estre, et estre consiste en mouvement et action.

Finding her voice at last, she asked, “What dreams are you having, sir?” “I dreamt I was in a spring field and a woman stands in the shadows just at the edge of the nearby forest. I haven’t yet seen her face, only her long beautiful hair. I always wake too soon.” He reached up to touch the hawk touchstone around his throat as he described his dream, rubbing it absently between his fingers. Lily lowered her lashes to hide her astonishment. “When you see someone in a dream but cannot see their face, it means you haven’t met them yet,” she explained. “Then perhaps I’ll dream of her again tonight and this time I’ll see her face.” He smiled, reaching across the table to take her left hand and lift it to his lips. “My name is Ian Kelly, and it would give me the greatest pleasure to know yours.” “Lily Evans. Around here I go by Raven.” She raised a shoulder, indicating the gypsy tent. “Lily--indeed, a most beautiful name. Now tell me,” he stared pointedly at her hand, “I see no ring that another has claimed you as his, so my confidence is strengthened. Look at your cards again, milady, and tell me if you see me in your future…

He could do nothing else but follow this intrinsically conservative tendency, conservative because tending towards a timeless and abstract canon of form, but nevertheless progressive in the stylistic situation of the time.

[how can anyone] be silly enough to think himself better than other people, because his clothes are made of finer woolen thread than theirs. After all, those fine clothes were once worn by a sheep, and they never turned it into anything better than a sheep.

I can’t help but think that the way we punctuate now is the right way—that we are living in a punctuation renaissance.

Heureuse la mort qui oste le loisir aux apprests de tel equipage.

I did think about a Ph.D. in computer science, but this is a time in industry where theory and practice are coming together in amazing ways. Yes, there's money, but what really interests me is that private-sector innovation happens faster. You can get more done and on a larger scale and have more impact. With all the start-ups out there, I think this is a time like the Renaissance. Not just one person doing great work, but so many feeding off one another. If you lived then, wouldn't you go out and paint?

I feed my heart with sighs, that's all it asks, I live on tears, I think I'm born to weep; I don't complain of that, since in my state weeping is sweeter than you might believe.

Il n'est rien qui tente mes larmes que les larmes.

I kako ovaj tvoj spis ne ide ni za čim drugim nego da uništi ugled i vlast koju i među svijetom i među svjetinom uživaju viteške knjige, ne treba ti prosjačiti sentencije od filozofa, rečenice iz Svetog pisma, priče od pjesnika, govore od retora, čudesa od svetaca, nego nastoj da ti u knjizi budu krepke, valjane i dobro probrane riječi, pa da ti pričanje i rečenice poteku zvučno i ugodno, koliko god možeš, znaš i voliš, a da misli svoje iskazuješ ne brkajući ih i ne zamračujući. Nastoj i o tome da se čitajući tvoju historiju melankolik nasmije, smješljivac da puca od smijeha, priprostomu da ne bude na dosadu, razborit čovjek neka se divi invenciji, ozbiljan neka je ne odvrgne, a umnik neka je svagda hvali. Sve u sve, upni da razoriš loše osnovanu zgradu tih viteških knjiga što ih mnogi mrze a još brojniji hvale; ako to postigneš, nisi postigao malenkost.

In Venice, things not always as they first appear. I contemplate this observation from my post on the aft deck of one of Master Fumagalli’s gondolas, taking in the panorama of bridges, domes, bell towers, and quaysides of my native city. I row into the neck of the Grand Canal, and, one by one, the reflection of each colorful façade appears, only to dissipate into wavering, shimmering shards under my oar.

In other words, Botticelli's ideal women look like women and not boys. They're soft and curvaceous. Healthy and rounded. Women of the size figured in this painting were considered beautiful for centuries, if not millennia. They were the aesthetic ideal during my lifetime and long after." He brought his mouth to her neck before whispering, "My ideal hasn't changed.

I remember, on one occasion, as I went round Addison's Walk, I saw him coming slowly towards me, his round, rubicund face beaming with pleasure to itself. When we came within speaking distance, I said 'Hullo, Jack! You look very pleased with yourself; what is it?' 'I believe,' he answered, with a modest smile of triumph, 'I believe I have proved that the Renaissance never happened in England. Alternatively' - he held up his hand to prevent my astonished exclamation - 'that if it did, it had no importance!

I shower in the dark, barely able to tell soap from conditioner, and tell myself that I will emerge new and strong, that the water will heal me.

It is only rather recently that science has begun to make peace with its magical roots. Until a few decades ago, it was common for histories of science either to commence decorously with Copernicus's heliocentric theory or to laud the rationalism of Aristotelian antiquity and then to leap across the Middle Ages as an age of ignorance and superstition. One could, with care and diligence, find occasional things to praise in the works of Avicenna, William of Ockham, Albertus Magnus, and Roger Bacon, but these sparse gems had to be thoroughly dusted down and scraped clean of unsightly accretions before being inserted into the corners of a frame fashioned in a much later period.

In the darkness, fear my light.

Compare with Greek art, modern classical art is lacking in warmth and immediacy; it has a derived, retrospective, and, even in the Renaissance, a more or less classicistic character. It It is the reflection of a society which, filled with reminiscences of Roman heroism and medieval chivalry, tries to appear to be something which it is not, by following an artificially produced social and moral code, and which stylizes the whole pattern of its life in accordance with this fictitious scheme. Classical art describes this society as it wants to see itself and as it wants to be seen. There is hardly a feature in this art which would not, on closer examination, prove to be anything more than the translation into artistic terms of the aristocratic, conservative ideals cherished by this society striving for permanence and continuity. The whole artistic fromalism of the Cinquecento merely corresponds to the formalized system of moral conceptions and decorum which the upper class of the period imposes on itself. Just as the aristocracy and the aristocratically minded circles of society subject life to the rule of a formal code, in order to preserve it from the anarchy of the emotions, so they also submit the expression of the emotions in art to the censorship of definite, abstract, and impersonal forms.

I want to be a Renaissance Woman. I want to paint, and I want to write, and I want to act, and I just want to do everything.

Love is the linchpin that connects the material world with higher levels of existence.

L'utilité du vivre n'est pas en l'espace: elle est en l'usage.

Not without deep pain do we admit to ourselves that the artists of all ages have in their highest flights carried to heavenly transfiguration precisely those conceptions that we now recognize as false: they are the glorifiers of the religious and philosophical errors of humanity, and they could not have done this without their belief in the absolute truth of these errors. Now if the belief in such truth generally diminishes, if the rainbow colors at the outermost ends of human knowing and imagining fade: then the species of art that, like the Divina commedia, Raphael's pictures, Michelangelo's frescoes, the Gothic cathedrals, presupposes not only a cosmic, but also a metaphysical significance for art objects can never blossom again. A touching tale will come of this, that there was once such an art, such belief by artists.

Now having travelled from the pride of man in the High Renaissance and the Enlightenment down to the present despair, we can understand where modern people are. They have no place for a personal God. But equally they have no place for man as man, or for love, or for freedom, or for significance. This brings a crucial problem. Beginning only from man himself, people affirm that man is only a machine. But those who hold this position cannot live like machines! If they could, there would be no tensions in their intellectual position or in their lives. But even people who believe they are machines cannot live like machines, and thus they must “leap upstairs” against their reason and try to find something which gives meaning to life, even though to do so they have to deny their reason. This was a solution Leonardo da Vinci and the men of the Renaissance never would have accepted, even if, like Leonardo they ended their thinking in despondency. They would not have done so, for they would have considered it intellectual suicide to separate meaning and values from reason this way. And they would have been right. Such a solution is intellectual suicide, and one may question the intellectual integrity of those who accept such a position when their starting point was pride in the sufficiency of human reason.