text:
User talk:Cheris~enwikiquote

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Cheris Kramarae
I have added a "" template to the article Cheris Kramarae, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but it may not satisfy Wikiquote's criteria for inclusion, for the reasons given in the deletion notice (see also "What Wikiquote is not" and Wikiquote's deletion policy). You may contest the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page. Also, please consider improving the article to address the issues raised. Even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Votes for deletion, where it may be deleted if consensus to delete is reached. Ole.Holm 11:37, 7 March 2010 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

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Renamed
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title: User talk:Cheris~enwikiquote


text:
User talk:Vseferovic

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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Vseferovic


text:
User talk:Redheadedbabe

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title: User talk:Redheadedbabe


text:
User talk:Anonymous~enwikiquote

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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Anonymous. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Anonymous~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:17, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:42, 19 April 2015 (UTC)

title: User talk:Anonymous~enwikiquote


text:
User talk:Arutz

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title: User talk:Arutz


text:
User talk:Lipskab

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title: User talk:Lipskab


text:
User talk:Benny3580

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title: User talk:Benny3580


text:
User talk:Baby Poe

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title: User talk:Baby Poe


text:
User talk:MitchellTF~enwikiquote

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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called MitchellTF. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name MitchellTF~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:31, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:53, 19 April 2015 (UTC)

title: User talk:MitchellTF~enwikiquote


text:
User talk:Mairegrrrl

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title: User talk:Mairegrrrl


text:
User talk:Atm348~enwikiquote

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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Atm348. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Atm348~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:17, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:42, 19 April 2015 (UTC)

title: User talk:Atm348~enwikiquote


text:
User talk:RYCK104

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title: User talk:RYCK104


text:
User talk:Edvid

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title: User talk:Edvid


text:
User talk:Triviaa

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title: User talk:Triviaa


text:
User talk:Craigthepope

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title: User talk:Craigthepope


text:
User talk:Fasouli

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title: User talk:Fasouli


text:
User talk:Fignewt1259~enwikiquote

Welcome
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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Fignewt1259. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Fignewt1259~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:23, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:47, 19 April 2015 (UTC)

title: User talk:Fignewt1259~enwikiquote


text:
User talk:Jerlam2~enwikiquote

Welcome
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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Jerlam2. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Jerlam2~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:27, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:49, 19 April 2015 (UTC)

title: User talk:Jerlam2~enwikiquote


text:
User talk:Oneirofire

Welcome
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title: User talk:Oneirofire


text:
User talk:Sandyflores

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title: User talk:Sandyflores


text:
User talk:Mcdoh1902

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title: User talk:Mcdoh1902


text:
User talk:PTBartman

Welcome
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title: User talk:PTBartman


text:
User talk:Hanhrozaili

Welcome
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title: User talk:Hanhrozaili


text:
User talk:Disavian

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title: User talk:Disavian


text:
User talk:Ryyannon

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title: User talk:Ryyannon


text:
Edwin van der Sar

Edwin van der Sar (born 29 October, 1970, in Voorhout, Netherlands) is a Dutch football executive and former professional player who is currently the chief executive of AFC Ajax, with whom he began his senior playing career in the early 1990s; he is considered to be a member of the club's golden generation and was part of the Ajax team that won the UEFA Champions League in 1995. A goalkeeper, he left Ajax for Juventus in 1999, where he spent two years before moving to England, first to Fulham and then to Manchester United in 2005. There he won a second Champions League title in 2008, making him one of just eight players at the time to have won the competition with more than one club.

Quotes

 * You always expect to do well at a club like this in big competitions and we haven't done that. That is a disappointment to the newcomers like me who haven't tasted success here and also to those who've been here longer and won things in the past. We have to address that.
 * Manchester Evening News

title: Edwin van der Sar


text:
User talk:194.66.199.61

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 12:39, 22 January 2007 (UTC)

title: User talk:194.66.199.61


text:
Édouard Manet

Édouard Manet (23 January 1832 – 30 April 1883) was a French painter - one of the first nineteenth century artists to approach modern-life subjects. His art bridged the divide between Realism and Impressionism.

1850s

 * I don't know why I'm here. Everything before our eyes is ridiculous. The light is wrong, the shadows are wrong. When I enter in the studio I feel like I am entering a tomb [in the studio of their common art-teacher Thoman Couture ]. I know we can't make a model undress in the street. But there are fields, and at least in the summer we could do studies of the nude in the country, since the nude appears to be the first and the last word in art.
 * Manet's early quote in 1850, spoken to his friend Antonin Proust; as quoted in Manet, Nathalia Brodskaya, Parkstone International, 2011, ISBN 978-1-78042-029-5, p. 12

1860s

 * So, they'd prefer me to do a nude, would they? Fine I'll do them a nude.. .I'll redo it [his painted copy of Giorgioni's 'Woman with musicians'], with a transparent atmosphere, like those women over there [women bathing in the river, Summer of 1862]. Then I suppose they'll really tear me to pieces. They'll tell me I'm just copying the Italians now, rather than the Spanish. Ah, well, they can say what they like. [the painting Manet means here became his most famous one: 'Déjeuner sur l'herbe'].
 * Manet's quote to his friend Antonin Proust in 1862, from Manet, Francoise Cachin, Barrie & Jenkins, London 1991, p. 16

 * How I miss you here [his friend in Paris - Manet visited Madrid and the famous museums there], and how delighted you would have been to see Velázquez, who in himself alone is worth the journey.. .He is the painter of painters. He did not astonish me, but delighted me.
 * Quote from Manet's letter to Fantin-Latour, Madrid 1865, as quoted in Letters of the great artists – from Blake to Pollock -, Richard Friedenthal, Thames and Hudson, London, 1963, (translation Daphne Woodward), p. 118

 * Who is this Monet whose name sounds just like mine and who is taking advantage of my notoriety?
 * Quote 1865, recorded by Theodore Duret at the [[w:Salon (Paris)|Paris Salon that year; as quoted on: SCRIBD - 'Manet's letters'

 * I should be going with Champfleury and Stevens, but they keep putting it off. Anyway, they are bloody bores. Excuse the unseeming language, but since my letter is not for publication, I can say what I please. Touché.
 * Quote in a letter, 23 August 1865, to his friend Zacharie Astruc; as quoted in Manet by Himself, Correspondence & Conversation; Paintings, pastels, prints and drawings, ed. Juliette Bareau-Wilson; Macdonald (1991)

 * My dear Zola, - I am making up my mind to hold a private show. I have at least two score pictures to exhibit. I've already already been offered a site in a very good location near the Champ de Mars. I am going to stake the lot and seconded by men like yourself, am hopeful of success. See you soon. Cordially, yours ever, All of us here are delighted with your article, and I am instructed to send you thanks.
 * Quote of Manet's letter to Zola, Wednesday, 2 January 1867; as quoted on: SCRIBD - 'Manet's letters'

 * Get it down quickly, don't worry about the background. Just go for the tonal values. You see? When you look at it, and above all when you see how to render it as you see it, thats is, in such a way that its make the same impression on the viewer as it does on you, you don't look for, you don't see the lines on the paper over there, do you? And then, when you look at the whole thing you don't try to count the scales on the salmon, of course you don't. You see them as little silver pearls against grey and pink – isn't thats right? – look at the pink of the salmon, with the bone appearing white in the centre and then grays, like the shades of mother of pearl. And the grapes, now do you count each? No, of course not. What strikes you is their clear, amber colour and the bloom which models the form by softening it. What you have to decide with the cloth is where the highlights come and then the planes which are not in the direct light. Halftones are for the magasin pittoresque engravers. The folds will come by themselves if you put them in the proper place. Ah! M. Ingres, there's the man! We're all just children. There's the one who knew how to paint materials! Ask Bracquemond [Paris' artist and print-maker]. Above all, keep your colours fresh. [instructing his new protegee, the Spanish young woman-painter Eva Gonzales, circa 1869]
 * Manet, recorded by Philippe Burty, as cited in Manet by Himself, ed. Juliet Wilson-Bareau, Little Brown 2000, London; p. 52

 * You can do plein-air painting indoors, [to his pupil then, Berthe Morisot ] by painting white in the morning, lilac during the day and orange tones in the evening.
 * quote of Manet, recorded bij Berthe Morisot; in Manet by Himself, ed. Juliet Wilson Bareau Little Brown 2000, London; p. 303

1870s

 * I spent a long time, my dear Suzanne, looking for your photograph - I eventually found the album in the table in the drawing room, so I can look at your comforting face from time to time. I woke up last night thinking I heard you calling me.. .Every day we're expecting a major offensive to break through the iron ring that surrounds us. We are counting on the provinces, because we can't just send our little [French] army of to be massacred. Those devious Prussians may well try to starve us out.
 * Quote from Manet's letter to his wife, Suzanne Leenhof 23 Oct. 1870, a cited in The private lives of the Impressionists Sue Roe, Harpen Collins Publishers, New York 2006, p. 78
 * the Prussian army was encircling Paris completely in Autumn, 1870; Manet was locked up, but had sent his wife Suzanne to the county before, out of dangerous Paris

 * Goodbye my dear Suzanne [his wife], your portraits are hanging in every corner of the bedroom, so I see you first and last thing..
 * Quote from Manet's letter to his wife, Suzanne Leenhof, 3 December 1870; as quoted in Manet by Himself, Correspondence & Conversation; Paintings, pastels, prints and drawings, ed. Juliette Bareau-Wilson; Macdonald (1991)

 * I never imagined that France could be represented by such doddering old fools, not excepting that little twit Thiers...
 * Quote from Manet's letter to Félix Bracquemond (18 March 1871); as cited in Manet by Himself (1995) by Julliet Wilson-Bareau

 * Only party hacks and the ambitious, the Henry's of this world following on the heels of the Milliéres, the grotesque imitators of the Commune of 1793.. .What an encouragement all these bloodthirsty caperings are for the arts! But there is at least one consolation in our misfortunes: that we're not politicians and have no desire to be elected as deputies.
 * Letter to Félix Bracquemond (21 March 1871), published in Manet by Himself (1995) by Julliet Wilson-Bareau

 * He has no talent at all, that boy! You, who are his friend, tell him please to give up painting.
 * spoken to Claude Monet about Pierre-Auguste Renoir (1874), as quoted by John Rewald, The History of Impressionism, Vol.1 (1961).

 * My dear Duret, I went to see Monet yesterday. I found him heart-broken and completely on the rocks. He asked me to find him someone who would take from ten to twenty of his paintings at their choice, for 111 fr. apiece. Shall we do it between us, making 500 fr. each? Naturally, no one, least of all he, must know that it is we who are doing it..
 * Quote from Manet's letter to the Paris' art-critic Théodore Duret, 1875, as quoted in Letters of the great artists – from Blake to Pollock -, Richard Friedenthal, Thames and Hudson, London, 1963, p. 121

 * [Manet's reply:] They're not dancing, they'e skating; but you're right, they do move and when people are moving, I can't freeze them on the canvas. As a matter of fact, sir, I have been told the outlines of 'Olympia' are too well defined, so that makes up for it. Sir Frederick Leighton criticized: It's very good, Monsieur Manet, but don't you think that the outlines [of Manet's painting 'Le Skating' ] are not well enough defined and that the figures dance too much?
 * Quote of Manet c. 1877-79, recorded by Antonin Proust; ; as quoted in 'The Importance of Manet's Conceptualization in 'Olympia' and 'The Bar at the Folies-Bergère', by Charles Moffat, on 'The Art History Archive', c. 2001

1880s

 * The Bellevue air [suburb outside Paris with curative waters] has done me a world of good.. .But Alas! Naturalist painting is more in disfavor than ever.
 * quote in a letter to Emile Zola, June 1880; as quoted by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 16 - note 5
 * Manet had severe rheumatism and visited in 1879 a clinic in the same location, Bellevue, a suburb outside Paris with curative waters

 * You would hardly believe, my dear fellow, how difficult it is to clap a solitary figure on a canvas and to concentrate the entire interest on that one solitary figure without it ceasing to be lively and full.. .Your portrait (1880) is an outstandingly sincere work. I remember as though it were yesterday the rapid, summary fashion in which I dealt with the glove of the ungloved hand. And when you said to me, at that very moment, 'Please not another touch', I felt we were so perfectly attuned that I couldn't resist the impulse to embrace you. Ah! Heaven send that no one takes it into his head later on to stick that portrait into a public collection!
 * Quote of Manet in his letter to Antonin Proust 1880, as quoted in Letters of the great artists – from Blake to Pollock -, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 123-124

 * That's good advice.. ..all the more so since I may well be forced to leave it [the painting] at that, as so often happens when the model doesn't come back. That's always been my principal concern, to make sure of getting regular sittings. Whenever I start something, I'm always afraid the model will let me down..  .They come, they pose, then away they go, telling themselves that he can finish it off on his own. Well no, one can't finish anything on one's own, particularly since one only finishes on the day one starts, and that means starting often and having plenty of days available.
 * Quote of Manet c. 1880, recorded by Antonin Proust; as quoted in 'The Importance of Manet's Conceptualization in 'Olympia' and 'The Bar at the Folies-Bergère', by Charles Moffat, on 'The Art History Archive', c. 2001
 * Ah! Women.. .I met one yesterday on the Pont de l'Europe [in Paris, circa 1881 - Manet was walking through the city frequently with his friend Antonin Proust, but then already more or less cripple because of his syphilis]. She was walking the way only a Parisienne knows how to walk, but with an extra something, even more assured. I'll remember that. There are some things that will always be engraved on my mind.
 * quoted in Portrait of Manet by Himself and his Contemporaries, Courthion and Cailler; London, Cassell, 1960 p.97

 * What a pelisse! It's tawny brown with an old gold lining – staggering. It will make a wonderful background for some things I'm thinking of doing. Promise that when it's worn out you'll give it to me [Méry promised!].
 * quote of Manet, c. 1881; as cited in The private lives of the Impressionists, Sue Roe; Harpen Collins Publishers, New York 2006, p. 232
 * Méry Laurent was posing for Manet's painting 'Autumn', one work of Manet's series of the seasons, he painted in 1881 – she had ordered the pelisse from Worth for that posing]

 * You can deduce everything about a woman from the way she holds her feet. Seductive women always turn their feet out. Don't expect to get anywhere with a woman who turns her feet in.
 * a remark of Manet to Mallarmé, recorded by Thadée Natanson [husband of Misia Sert ]; as quoted in Berthe Morisot, the first lady of impressionism, Margaret Shennan; Sutton Books London 1996, p.136

 * Christ on the cross – what a symbol. A symbol of love surpassed by sorrow, which lies at the root of human condition, the main symbol of human poetry.. ..but that's enough of that, I'm getting morbid. It's Siredey's fault [his doctor during his last years, when Manet was seriously ill: syphilis]. Doctors always remind me of undertakers. Though I must say, I feel a lot better this evening. [while working on [[w:Antonin Proust|Antonin Proust]'s portrait] in 1881-82]
 * quoted in The private lives of the Impressionists, Sue Roe; Harpen Collins Publishers, New York 2006, p. 232

 * I beg you, if I die, don't let me go piecemeal into the public collections, my work would not be fairly judged. I want to get in complete or not at all.. .Please, please, promise me one thing, never let my things go into a museum piecemeal.
 * remark to his friend Antonin Proust; as cited in: Manet by Himself, p. 304; as quoted in The private lives of the Impressionists Sue Roe; Harpen Collins Publishers, New York 2006, p. 241
 * Antonin Proust had recently become minister of Arts in France

 * No one knows what it feels like to be constantly insulted [by art-critics in Paris]. It sickens and destroys you.. .The fools! They've never stopped telling me I'm inconsistent [in his painting style]; they couldn't have said anything more flattering.
 * quote of Manet, recorded by his friend Antonin Proust in his last years, Manet by Himself, p. 304, as quoted in The private lives of the Impressionists, Sue Roe; Harpen Collins Publishers, New York 2006, p. 241

 * I was painting modern Paris while you were still painting Greek athletes..
 * quote from The Impressionists at first hand, by Bernard Denvir; Thames and Hudson, London 1991, p. 78
 * remark to his friend Edgar Degas, (quoted by George Moore circa 1879). Later Degas reacted: 'That Manet, as soon as I started painting dancers, he did them.'

 * In art, conciseness is both a necessity and a luxury; a concise man provokes thought, a wordy man provokes boredom; always move towards conciseness. In the figure, look for the main light and the main shadow, the rest will come of itself: often, it amounts to very little.
 * Quote by Georges Jeanniot, Jan. 1882 - written after visiting Manet's studio; as quoted in 'The Importance of Manet's Conceptualization in 'Olympia' and 'The Bar at the Folies-Bergère', by Charles Moffat, on 'The Art History Archive', c. 2001
 * Manet kept on working during Jeanniot's visit; he was painting 'The Bar at the Folies-Bergère'

 * One must be of one's time and paint what one sees.
 * As quoted in Encyclopedia of Artists (2000) by William Vaughan and Christopher Ackroyd, p. 28

 * I am influenced by everybody. [and Willem de Kooning admitted: 'every time I put my hands in my pockets I find someone else's fingers there'].
 * Willem de Kooning quotes Manet in a conversation in 1968, with art-critic Harold Rosenberg; as cited in Willem De Kooning, 1904-1997 : Content as a Glimpse, Barbara Hess; Taschen, 2004, p. 67

Portrait of Manet by himself and his contemporaries (1960)

 * Quotes from: Portrait of Manet by himself and his contemporaries, Pierre Courthion, 1960/1983 - translation of La Grande Revue (10 August 1907)

 * In a face, look for the main light and the main shadow; the rest will come naturally — it's often not important. And then you must cultivate your memory, because Nature will only provide you with references. Nature is like a warden in a lunatic asylum. It stops you from becoming banal.
 * p. 98.

 * You must always remain master of the situation and do what you please. No school tasks, ah, no! no tasks!
 * p. 99.

 * We have reached that delightful moment when 'Impressionism' is about to be born, when its light (the formula for which has yet to be found) is still only a hint, a caress, in the silvery snows of Monet or in the pale skies of Pissarro. Ah, how one would like to prolong this moment of hesitation for ever, this moment of transition, when transparent blue shadows are putting black shadows to flight and bitumen disappears!
 * p. 212.

Quotes about Manet

 * M. Manet has never seen any Francisco Goya's, M. Manet has never seen any El Greco's.. ..that may seem unbelievable to you, but it's the truth. I myself have been filled with wonder and stupefaction at these mysterious coincidences..  ..He's heard so much about his 'pastiches' of Goya, that he is now trying to see some of Goya's paintings..  ..Every time you try to pay Manet a service, I'll be grateful..  ..quote my letter or at least several lines of it. What I'm telling you is the naked truth.
 * Charles Baudelaire (c. 20 June 1864) in his letter to art-critic Théophile Thoré-Bürger; in Selected Letters of Charles Baudelaire – the Conquest of Solitude, University of Chicago Press, 18 Feb. 1986, p. 203.
 * Baudelaire is reacting on Thoré's review, the [Salon (Paris)|'Paris Salon] of 1864' in which he accused Manet of making 'pastiches' of El Greco, Goya and Vélasquez.

 * He [Manet] hits of the tone.. ..but his work lacks unity and temperament too.
 * Paul Cézanne (c. 1863), in: Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 27.

 * Here you are, put this somewhere, on your work table. You must always have this before your eyes.. ..It's a new order of painting. Our Renaissance starts here..  ..There's a pictorial truth in things. This rose and this white [in the painting 'Olypmpia' of Manet] lead us to it by a path hitherto unknown to our sensibility, (quote after 1897).
 * Paul Cézanne (1890's), in: 'What I know or have seen of his life'; Joachim Gasquet's Cézanne, - a Memoir with Conversations, (1897 - 1906); Thames and Hudson, London 1991 p. 71.

 * Let's not eliminate nature. Too bad if we fail. You see, in his 'Dejeuner sur l'herbe', Manet ought to have added - I don't know what - a touch of this nobility (of the Renaissance painter Giorgione), whatever it is in this picture that conveys heaven to our every sense. Look at the golden flow of the tall woman, the other one's back.. .They are alive and they are divine, (quote after 1898).
 * Paul Cézanne (1890's), in: 'What he told me – II. The Louvre'; Joachim Gasquet's Cézanne, - a Memoir with Conversations, (1897 - 1906); Thames and Hudson, London 1991 p. 186.
 * Cézanne made this critical remark on Manet in the Louvre museum, in front of the painting 'Le concert Champêtre', painted by Giorgione (finished by Titian), he admired.

 * I put it [a still life painting of a pear, made by Manet] there on the wall, next to Ingres' Jupiter; for a pear like that would overthrow any god.
 * Edgar Degas (c. 1875), his comment on a little still life painting, painted by his friend Manet, during a conversation with the writer Moore around 1875; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 117.

 * That Manet, as soon as I started painting dancers, he did them. [Degas' reaction later, after Manet said Degas: 'I was painting modern Paris while you were still painting Greek athletes'. [quoted by George Moore, circa 1879].
 * Edgar Degas (1870's), as quoted in The Impressionists at first hand, by Bernard Denvir, Thames and Hudson, London 1991, p. 78.

 * An artist is a deception.. ..an artist is only an artist at certain times, by an effort of will..  ..the study of nature is a cliché; isn't Manet the living proof? For although he prided himself on slavishly copying nature, he was the most inadequate painter in the world, not making a single brushstroke without reference to the old masters; for instance, he refrained from drawing fingernails because Frans Hals did not draw them.
 * Degas, in his talk with the visiting Mallarmé, 1880's; as cited in Berthe Morisot, the first lady of Impressionism, by Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3), 1996, p. 234.

 * In 1867 and 1868, [Manet] painted 'The Execution of Maximilian'.. .Its composition occupied him for many months. He first tried to discover the circumstances and details of the drama. This is why the three victims are painted so close to the execution squad, to accord with what actually occurred. When he was satisfied with the effect he intended, he began to paint his picture, with the help of the infantry platoon lent to him from a barracks, as models for the firing squad. He also asked two friends to pose for generals Mejía and Miramón, although he altered their heads. Only Maximilian's head was painted in the conventional way, from a photograph. When a first composition and even a second appeared not to match the detailed information he was finally able to obtain, he painted the work again, for the third time, in its final and definitive form [1868-69].
 * Theodore Duret, c. 1869-70 (chronicling the development of Manet's series); as cited in Manet, the Execution of Maximilian: Painting, Politics, and Censorship, ed. Juliet Wilson-Bareau; London: National Gallery Publications, 1992, p. 48

 * The leader, the hero of Realism, is now Manet. His partisans are frenzied and his detractors timid. It would seem that, if one refuses to accept Manet, one must fear being taken for a philistine, a bourgeois, a Joseph Prudhomme [JP, created by caricaturist Henri Monnier, was a personification of the vulgar self satisfied bourgeois who grew up under the July Monarchy], an idiot who cares for nothing but miniatures and painted porcelain[-]one examines oneself with a sort of horror[-] to discover whether one has become obese or bald, incapable of understanding the audacities of youth.
 * Théophile Gautier, from his article in Le Moniteur universel

 * ..in his [Manet's] final major Salon piece 'The Bar at the Folies-Bergère', working-class women are represented in juxtoposition to bourgeois male customers.. ..the woman represented in 'The Bar at the Folies-Bergère' were employed not merely to serve and encourage the purchase of drinks, but were themselves objects of consumption as prostitutes. 'The Bar at the Folies-Bergère' is thus a representation of the potential consumption of femininity (the barmaid as prostitute) as well as being itself as [an?] object of visual consumption, activating desire in the viewer through the production of woman as spectacle.
 * T. A. Gronberg, in the 'Introduction' of Manet: A Retrospective, ed. T. A. Gronberg; Hugh Lauter Levin Associates, New York 1988.

 * In the early 1860s... [Manet] was still battling traditional art by including it in his compositions—in order to undermine it. He was wrenching the past into the present not only by manipulating it, but also by disclosing the signs of his manipulation. This is true of ... of 1862. and Olympia... painted the same year as the Déjeuner (but not exhibited until 1865). His witty game required both past ideals and contemporary realities, each employed to mock the other. He committed himself to neither and, like Offenbach, he challenged authority with the instruments of irony and parady.
 * Robert L. Herbert, Impressionism: Art, Leisure, and Parisian Society (1988) p. 173.

 * The bright blue water continues to exasperate a number of people [in Manet's painting 'Boating', he painted in the Summer of 1874]... Manet has never, thank heavens, known those prejudices, stupidly maintained in the academies. He paints, by abbreviations, nature as it is and as he sees it. The woman, dressed in blue, seated in a boat, cut off by the frame as in certain Japanese prints, is well placed in broad daylight, and her figure energetically stands out against the oarsman dressed in white, against the vivid blue of the water. These are indeed pictures the like of which, alas, we shall rarely find in these tedious Salon.
 * J. K. Huysmans, in his review of the Salon of 1879 in Paris; as quoted in 'Manet and his Critics', Georg Heard Hamilton, New York, 1969. pp. 216-217.

 * When I returned to Paris, in January 1882, the first visit I paid was to Manet. He was then painting 'The Bar at the Folies-Bergère' and the model, a pretty girl, was posing behind a table laden with food and bottles. He recognized me immediately, held out his hand and said: 'It's a most irritating, forgive me, I have to remain seated, I've got a bad foot. Do sit down. I took a chair behind him and watched him work. Although he painted his pictures from the model, Manet did not copy nature at all; I became aware of his magisterial simplifications; the head of his woman had a sense of depth, but the modelling was not obtained with the means that nature offered him. Everything was abridged; the tones were clearer, the colours more vivid, the values closer, the tones more varied..
 * Georges Jeanniot, written after visiting Manet's studio, Jan. 1882; as quoted in 'The Importance of Manet's Conceptualization in 'Olympia' and 'The Bar at the Folies-Bergère', by Charles Moffat, on 'The Art History Archive', c. 2001.

 * Le Bain... has proved as defiant in execution as it had been in conception... [H]e abandoned, a technique perfected by Leonardo da Vinci and exploited by successful Salon painters... Manet... did away with most... half-tones—the transitions between highlights and shadows—such that his figures... looked harshly lit. ...Since an optical illusion makes light colors advance and dark ones recede, most artists painted a dark undercoat... la sauce.., a transluscent mixture of linseed oil, turpentine and often bitumen... Manet... after The Absinthe Drinker, working instead on canvases treated with off-white primers... gave Le Bain a greater luminosity... at the expense of... spatial recession [depth]. ...Painters were usually trained to create a subtle relief on the surface... Dark colors, such as... for shadows, were spread very thin while highlights were "loaded" or "impasted"... in thick layers... [T]ogether with the darker undercoat... whites would advance and the darks retreat. ...Manet boldly disregarded this practice in Le Bain... Though a few... as Gèricault and Courbet, had... experimented with this technique, the boldness of Manet's application witnessed... a new direction in art.
 * , The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism (2006) pp. 49-50; citing Anthea Callen, Techniques of the Impressionists (1993).

 * Manet... may not have esteemed the efforts of Cézanne and Renoir, but Monet was a different matter. Seven years earlier he had disdained [Monet's] The Garden of the Princess... Slowly, however, he had come to accept—largely on the evidence of Monet's canvases—that... [w]hat Baudelaire called "modernity" could be captured in situ. He had painted en plein air... [b]ut he seems to have come to the basin in the summer of 1874 with the express aim of abandoning... the "false shadows" of the studio in favor of joining Monet in the "true light" of the outdoors. For the first time... Manet tried to catch the effects of natural light... and, following Monet's lead, replaced the somber colors and sharp contrasts... with a lighter palette of blues, yellows and ochers, which he added... in strokes of pure, unmixed color. He even painted, as a kind of tribute, Claude Monet and his Wife on his Floating Studio... The lighter tones and saturated colors of both Boating and Argenteuil show how Manet had... stepped resolutely into the sunshine. ...Visiting Monet's house ...one afternoon, he began painting The Monet Family in their Garden at Argenteuil. ...Monet ceased gardening at some point ...and began working on Manet Painting in Monet's Garden... Hardly had he begun painting than Renoir arrived... borrowed paints and a canvas from Monet and started... Monet and her Son... The day ended with Manet and Renoir making gifts of their paintings to Monet.
 * , The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism (2006) pp. 359-360.

 * It was not until 1869 that I met him [Manet] again, but this time, we became friends immediately. From the first meeting, he invited me to join him every evening in a café of the 'Batignolles' where he and his friends would gather to talk at the end of a day spent at their studios. I would meet there, Fantin-Latour and Cézanne, Degas - who arrived shortly afterwards from Italy, the art critic Duranty, Emile Zola who was just starting-off in the literary world and a number of others. I would take Sisley, Bazille and Renoir. There was nothing more interesting than these discussions with their perpetual differences of opinion. Our mind and souls were stimulated.. ..One would always leave, all the better immersed, the will stronger, our thinking more defined and clear.
 * Claude Monet, in Claude Monet par lui-meme – interview by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in Le Temps newspaper, 26 November 1900.

 * He [Manet] begged me to go straight up and see his painting ['Le Balcon', exhibited on the Salon of Paris of 1869; Berthe Morisot was Manet's model for the painting], as he was rooted to the spot. I've never seen anyone in such a state, one minute he was laughing, the next insisting his picture was dreadful; in the next breath, sure it would be a huge success.
 * Berthe Morisot (1869) remark to her sister Edma, after visiting the Salon of Paris in 1869; as quoted in The Correspondence of Berthe Morisot, with her family and friends Denish Rouart with Adler and Garb, Camden Press London, 1987, pp. 33-34.

 * ..once started, nothing could stop him; from the skirt he went to the bust, from the bust to the head, from the head to the background. He cracked a thousand jokes, laughed like a madman, handed me the palette, took it back; finally by five o'clock in the afternoon we had made the best caricature you have ever seen.
 * Berthe Morisot (Winter, 1869); as quoted in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, pp. 62-63.
 * Manet was correcting in a painting, fresh-made by Berthe Morisot for the coming Salon, a portrait of her sister [[w:Edma Morisot|Edma] ]

 * The stories of the Manet brothers [Edouard Manet the painter, and his brother: Morisot's future husband Eugène Manet ] tell about all the horrors we are likely to face ([in Paris, during the war between France and Germany] are almost enough to discourage even the bravest of us. [But] you know they always exaggerate, and at the moment they see everything in the blackest possible light.
 * Berthe Morisot (1870), in a letter to her sister Edma, who stayed then in Britanny, 1870; as quoted in The Private Lives of the Impressionists Sue Roe; Harper Collins Publishers, New York, 2006, p. 72

 * His agony was horrible, death in one of its most appealing forms, that I once again witnessed at a very close range. If you add to these almost physical emotions my old bond of friendship with Edouard, a entire past of youth and work suddenly ending, you will know that I am devastated.
 * Berthe Morisot (April 1883), to her sister Edma; as quoted in The Correspondence of Berthe Morisot, with her family and friends Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 198, p. 131.

 * I am sending you 'Le Figaro' [daily Paris' newspaper], you will read M. Wolff's stupid piece on our poor friend Manet [who died a few days earlier]. I do not have to tell you how indignant I am at the manner in which this gentleman treats the pure-bred artist who shed such glory on this country in an epoch dominated by commercialism. The article in 'L'Intransigeant' is very fine, very just, and worthy of its subject, but the artist's works tell us more about him than anything the journalists can write.
 * Camille Pissarro, Paris, 2 May 1883, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 29
 * Albert Wolff was a famous art critic of 'Le Figaro' and completely hostile to the impressionists whom he referred to as 'madmen'. It may be noted, however that A. Wolff granted that Manet had left 'several superior works' and summed up Manet's importance as follows: 'Manet in the future will be valued more for what he attempted than for what he achieved', (note 1. p. 29, in book of John Rewald).

 * Manet's exhibition opens on January 5th. [1884 - c. 8 months after he died] - Manet, great painter that he was, had a petty side, he was crazy to be recognized by the constituted authorities, he believed in success, he longed for honors.. .He died without achieving his desire. Duret, Proust [ Antonin Proust ], have been selected to carry out his last wishes and to give a touch of solemnity to the exhibition, they could think of nothing better than to ask the worst officials, Manet's inveterate enemies, to join the organizing committee, and give an official stamp to the ceremony. All the bourgeois gentlemen will be there..  ..all those who loved and defended the great artist [sarcastic remark]: shocking! Away with them! - Even Fantin-Latour, who, it appears, claims that Manet in his last years had degenerated to such a point that he hoped to change his style through contact with those dilettantes [the impressionists ] who produce more noise than art! That's pretty strong, but not surprising!
 * Camille Pissarro, Rouen 28 December 1883, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 50-51.

 * Manet sees color and light, after which he no longer worries about the rest. When he has made the 'spot of color' on his canvas that a person or an object makes on the surrounding environment, he feels that this is sufficient. Don't ask anything else of him for the moment.. .His present vice is a sort of pantheism in which a [human] head is esteemed no more than a slipper; in which sometimes more importance is given to a bouquet of flowers, than to the physiognomy of a woman..  ..one scarcely pays attention to the head, although it is full grace..  ..it is lost in the modulation of the coloring.
 * (1868), in his [critical] review of the Salon in Paris, 1868; as quoted in Impressionism and Post Impressionism 1874 – 1904, 'Realism and Tradition', Linda Nochlin, Englewood Cliffs, New Yersey, 1966, p. 69.

I have asked some of the surviving painters of this period how Manet, who copied the Spaniards, and later abandoned his magnificent blacks to follow the wake of Monet and Impressionism, could have been hailed as the leader of a school. "Because," they would reply, "procedure counts for little in art. What made Manet a veritable prophet in his day, was that he brought a simple formula to a period in which the official art was merely fustian and conventionality. ..."
 * At the Nouvelle Athènes, as at Guerbois, Manet was the dominating personality. In 1870 Fantin-Latour painted a famous group of some of the faithfuls of the gathered about Manet who sits before his easel. In this picture, the impression is decidedly that of a master surrounded by his pupils. Cézanne alone continued to express his distrust of the extraordinary facility manifested by the painter of the Olympia. "A good job, though," he would say, in speaking of this canvas which... he tried to match with a new Olympia, more modern in treatment. Manet was equally hostile... as evidenced by his remark to Guillemet about Cézanne: "How can you abide such a foul painting [as An Afternoon at Naples]?"
 * , Paul Cézanne (1914) Paris, Éditions G. Crès; as translated by Harold L. Van Doren in Paul Cézanne: His Life and Art (1923, 1926) pp. 48-49.

 * When our artists give us Venuses, they correct nature, they lie. Manet asked himself why lie, why not tell the truth; he introduced us Olympia, this fille of our time, whom you meet on the sidewalks.
 * Emile Zola (1863) as cited in, "Under the Influence - How the art of the past informs that of the present", Frieze, Oct. 1, 2013.

 * Our fathers mocked Courbet, and now we go into ecstasies before him. We mock Manet and it will be our children who go into ecstasies before his canvases.
 * Emile Zola (1866) as cited in, "Under the Influence - How the art of the past informs that of the present", Frieze, Oct. 1, 2013.

 * Like a true Parisien, he [Manet] brings Paris to the country and is incapable of painting a landscape without including well-dressed men and women. He loses interest in nature once it no longer beras the mark of everyday life.
 * Emile Zola (1868) as cited in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p 60 - note 7
 * this remark of Zola in 1868 is describing exactly the attitude of Manet towards rural Nature and towards the developing modern city-life in Paris

 * ..that the soldiers shooting Maximilian were wearing a uniform almost identical to that of our own troops. Fanciful artists give the Mexicans costumes from comic opera. M. Manet, who truly loves truth, has drawn [in his painting 'The Execution of Emperor Maximilian' their real costumes, which closely resemble those of the [[w:Vincennes|Vincennes'] infantrymen. You can understand the horror and anger of the gentlemen censors. What now! An artist dared to put before their eyes the cruel irony: France shooting Maximilian!
 * Emile Zola, c. 1870; as cited by John Elderfield, in Manet and the Execution of Maximilian; New York: The Museum of Modern Art Publishers, 2006, p. 117
 * political sensitivities then made it impossible for Manet to exhibit his paintings in France during the reign of Napoleon III - Wikipedia

title: Édouard Manet


text:
Leonardo DiCaprio

Leonardo Wilhelm DiCaprio (born November 11, 1974) is an Academy Award-winning American actor, film director, film producer and screenwriter. He is of German, Italian and Russian descent.

Quotes
[]
 * I can name 30 or 40 sequences that were some of the most difficult things I've ever had to do. Whether it's going in and out of frozen rivers, or sleeping in animal carcasses, or what I ate on set. (I was) enduring freezing cold and possible hypothermia constantly.
 * His trip to Canada, quoted on Toronto Sun (February 16, 2016), "Leonardo DiCaprio headed on an expedition to Mongolia"
 * There's no other art form in the world that affects me more.
 * On acting (22 January 2007)
 * I like my name. My parents were in the Uffizi Gallery looking at a Leonardo Da Vinci when my mom felt me kick. That's how I got my name. My parents were real hippies.
 * Drugs? Every one has a choice and I choose not to do drugs.
 * With Romeo and Juliet, you're talking about two people who meet one night, and get married the same night. I believe in love at first sight-but it hasn't happened to me yet.
 * I'm absolutely clean. I've never tried anything. That's not a lie!.
 * I'm not the sort of person who tries to be cool or trendy. I'm definitely an individual.
 * I don't have emotions about a lot of things. I rarely get angry, I rarely cry. I guess I do get excited a lot, but I don't get sad and enormously happy.
 * "You learn after a while that it's not getting your face recognised that's the payoff. It's having your film remembered.
 * I hate speaking in front of a large audience. I don't know where it came from...but its just this gut-wrenching fear of slipping up and doing something horrible.
 * I’ve always kind of made sure to maintain the sense of who I am and never be mean or cruel or snotty to anyone. Because, at the end of the day, it's not going to help you last in the business, and who wants to be around someone like that? I don't want to turn into ‘that guy.’ That guy!
 * My God, no! I hate this whole hunk thing! I feel when I see myself in that, and these other cute faces, that I'm just part of this meat factory, like, 'Wow! Here's the hunk of the month! This month we're shoving Leonardo DiCaprio down your throat! Isn't he cute. Let's put him on the cover and we'll sell so many more magazines...' That's definitely not what I want to be, and I've tried real hard to get away from that whole situation.
 * If you can do what you do best and be happy, you're further along in life than most people.
 * The main thing for me right now is just to live my life with my family and friends. They treat me like Leo, not 'Leonardo, Master Thespian'. That's all I need to keep my sanity.
 * The last thing I want to turn into is a fat Hollywood jerk. I was brought up without much money and I was happy. I don't think that I will strive for money or success and end up greedy or big-headed. That only leads to unhappiness. I can still be down-to-earth and do this job as long as I enjoy it.
 * Don't think for a moment that I'm really like any of the characters I play. That's why it's called acting.
 * It was pretty disheartening to be objectified like that. I wanted to stop acting for a little bit. But it changed my life in a lot of ways, but at the same time, I can't say that it didn't give me opportunities. It made me, for the first time, in control of my career. - On Titanic (1997)
 * One of my passions is to meet people and then imitate them. I love doing that.
 * I have the same problem as Edward Furlong. I'm so thin!
 * "I was behind a woman at the checkout counter who was looking at the magazines. She turned to me and goes, 'There he is again, that Leonardo DiCaprio. Don't you wish he'd just disappear?' I said, this is the moment where I either go, 'Do you know who I am?' or put my hat further down, pay for my corn-nuts and get out of there....I choose to avoid that. (2005)
 * I remember the casting session that I had where I was a break dancer, having this punk hair cut. They rejected me and I became really disillusioned with the business and said well this is what it's all about, and I haven't even got in to read a line. He said don't worry, some day we're going to get you back into this and it's going to happen for you, which I kind of took to heart. It was one of those situations where I was lucky and fortunate enough to be at the right places at the right time. All of a sudden I was on the set of Growing Pains and got this audition for This Boy's Life and was able to jump into the feature film world. It's really been just simply the fact that I'd been able to work, you know what I mean? I would probably still be trying to be an actor even if I was out of work, but I would probably become a little disillusioned at some point and move on to other things. But it's the one thing that I know that I love.
 * I'm shy, but when the time comes to be wild, I'm fun-loving, adventurous, and mysterious.
 * On his career: "I admit I've done a few lousy roles in the beginning of my career, like my role in Critters 3 (1991). But at that age, you'll do anything for attention!
 * All I know is that when you make a movie it's something you have to live with forever. It's not a job I take lightly.
 * And I love doing what I'm doing and I'd get out of it if I hated it that much. I've said it many times before: There are much worse problems in the world, people dealing with things that are phenomenally more complicated.
 * My mom and I lived at Hollywood and Western, a drug-dealer and prostitute corner. It was pretty terrifying. I got beat up a lot. I saw people have sex in the alleys. I remember I was five years old, and this guy with a trench coat, needles and crack cornered me. Early on, seeing the devastation on my block, seeing heroin addicts, made me think twice about ever getting involved in drugs. It's evil. Once you take that step and experiment, drugs can take over your life. You are not yourself anymore. That's something I never wanted. I didn't have a lot of friends growing up. It was kind of just me and my parents. But because of them, the neighborhood did not have a bad effect on me. My dad introduced me to artists, and every few months we'd go to some hippie doo-dah parade as Mudmen in our underwear, carrying sticks and covered in mud. My mother did everything to get me into the best schools she could find.
 * When I was young, I used to have this thing where I wanted to see everything. I used to think, 'How can I die without seeing every inch of this world?'
 * I don't have the guts that Romeo did. [on marriage]
 * Dark green is my favorite color. It's the color of nature and the color of money and the color of moss!
 * Certainly after Titanic, where my face was put on every magazine cover around the world and the movie was such a phenomenon, I really had no control over that. So for the last couple of years, media-wise I've been trying to regain some control in what people say about me.
 * The challenge is to understand the psyche of somebody like that. There is no true genius or revolutionary ideas, I don’t think, without some element of compulsiveness or madness or obsession, and that’s certainly indicative of Howard Hughes. Understanding his obsessive-compulsive disorder was really the key for me for opening up who this man was.
 * I think it’s a real danger, as an actor, when you try to make some statement through your career about what the business should be doing or ultimately what your image should be or how you want to be perceived. I look at every project that comes along and say, “Is this something I can sink my teeth into and can do a good job on?” That’s really how I choose roles.
 * As a little kid growing up in Hollywood, I was called 'a little crazy'. And now I guess I'm still that way.
 * The fact that Romeo is dopey, lovey-dovey, and it's a corny story. And I was afraid I'd look like a fuffy.
 * A lot of actors ask me “what do you do? How do you get into the business?” My only answer is don’t be discouraged. … You have to commit your life to it, almost, and never give up. It’s a cliché, but it’s true.
 * "I wasn't surprised that Jamie got the award. But I knew that cameras would be stuffed up my face so I had my response ready. Anyone who says they don't practice is a liar." -on losing out on the Oscar to Jamie Foxx during the 2005 Academy Awards.
 * On turning 30: "I kind of feel like the same person except more time has gone by. I hate to say that I feel like an adult now. I have to admit I wish I was still 18. After all, even through the time while I was representing that wild kid, I really wasn't. I was just living my life. I was just not making movies at the time.
 * On Martin Scorsese: Martin has brought so much to the art form of film, and he is not the type of person who would be upset by not receiving an Oscar, although it is a practical joke that he has not won an Academy Award after all these years. Whatever opinions critics will have of The Aviator, I really think that this is a great piece of art: once again, he has made a great classic film.
 * I like to help the whales, the otters, and the dolphins. When I`m acting and I take a break, the first thing on my list is spending time by the sea.
 * I lived in Hollywood and, ironically, I didn't know you could just go out and get an agent and go on auditions and try and become an actor, I thought it was like a Masonic thing, like a blood line you had to belong to - until I was 13. Then I realised what you had to do. It is the one thing I know I want to do for the rest of my life.
 * As an actor, you're constantly searching for that great character. Also, being a history buff and learning about people in our past and amazing things that they've done, I came across a book about Howard Hughes and he was set up as basically, the most multi-dimensional character I could ever come across. Often, people have tried to define him in biographies, but no one seems to be able to categorize him.
 * On rumors: I've heard some pretty bad rumors...that I'm gay. If I want to go to a party with a few male friends, it doesn't mean that I'm gay. I don't see why I can't have friends of both sexes without rumors being spread about me. It's crazy.
 * If you hear of any incident about me - a fight, a change of clothes, a little extra gel in the hair, don't believe it till you talk to me.
 * Well it's a risk to do a movie of this calibre on a subject matter and a point in history people are not very familiar with. It's a tough subject to sell - so salary-wise you have to make sacrifices to make a certain film happen. I would have been an idiot to pass up the opportunity to work with Mr Scorsese.
 * I’ve been in the business since I was 16, so I’ve had a 14-year career. I’ve always had acting in my blood. Doing this, whatever it is, was something I was drawn to since my earliest memories. Ironically, I lived in Hollywood, but never understood that all it took was getting an agent and being persistent.
 * On whether there are any aspects of fame he dislikes: You kidding? I feel very fortunate. A lot of people would love to be in my position. There are so many people out there who are suffering trillions of times more than I could ever suffer, and would love to be me. I am a lucky little bastard.
 * Everywhere I go, somebody is staring at me. I don`t know if people are staring because they recognize me or because they think I`m a weirdo.
 * I'm probably not going to get married unless I live with somebody for 10 or 20 years. But these people (Romeo and Juliet) took a chance and they did it. We don't have the balls that Romeo did.
 * The best thing about acting is that I get to lose myself in another character and actually get paid for it. It`s a great outlet. As for myself, I`m not sure who I am. It seems that I change every day.
 * Being dubbed as a hunk sort of annoys me. It gives me a yucky feeling.
 * I got attention by being funny at school, pretending to be retarded, and jumping around with a deformed hand.
 * School, I never truly got the knack of. I could never focus on things I didn't want to learn.
 * I prefer ordinary girls - you know, college students, waitresses, that sort of thing. Most of the girls I go out with are just good friends. Just because I go out to the cinema with a girl, it doesn't mean we are dating.
 * On working with Martin Scorsese in Gangs of New York (2002): "He's a perfectionist, obsessed with detail. That's why he went over budget and over schedule.
 * I don't really have many extravagances. I don't fly private jets and I don't have bodyguards and I don't buy crazy things. I have a couple of houses here and there. I bought a very expensive watch, and I am going to buy a really expensive movie poster, the original for The Thief of Bagdad (1940). I love movie posters.
 * A consensus has emerged in our scientific community that global warming is no longer merely a theory but a reality, a crisis with truly global implications for planet Earth and all of us who share it. - Told to thousands at the New Jersey concert for Live Earth
 * There are pros and cons to everything. To be able to do what I do and what I love on this level is a very positive thing. There are certain invasions of privacy, but I hate sitting around complaining about it, I just don't like to hear it come out of my mouth. I'm a very fortunate person being able to do what I do.
 * about the downsides of fame[]
 * "People want you to be a crazy, out-of-control teen brat. They want you miserable, just like them. They don't want heroes; what they want is to see you fall.
 * Brothers don`t necessarily have to say anything to each other-they can sit in a room and be together and just be completely comfortable with each other.
 * Love at first sight? I absolutely believe in it! You`ve got to keep the faith. Who doesn`t like the idea that you could see someone tomorrow and she could be the love of your life? It`s very romantic.
 * Yes, I can play younger than my age. But I can play characters older than I am, too. I`m not an actor who can just play the kid.
 * People always like to make up stories. I am not planning on getting married. Then again, I might wake up tomorrow and decide to get married!
 * I insist on keeping a level head. I`ve maintained the same exact home life that I`ve had for 20 years. All I see is more people looking at me than before. But, you know, who cares? You just can`t obsess yourself with this fame stuff.

 * I've been very lucky to have achieved a lot of the things that I dreamt of achieving as a young man. But, at the end of the day – and I truly believe this – it is not about achieving great wealth or success. Because they don't bring happiness ultimately. They really don't. What matters is whether or not you've fulfilled the idea of having led an interesting life, whether you've contributed in some way to the world around you.
 * Interview: "Leonardo DiCaprio: 'wealth and success don't make you happy'" by Chloe Fox, The Telegraph (9 January 2016)

About

 * As an Academy member, you're not allowed to endorse somebody else when they're up for an Academy Award and if you do, there's a good chance you'll lose your membership. But I have to tell you Leo DiCaprio is so amazing in The Revenant
 * Harvey Weinstein on Leo DiCaprio's work in The Revenant, quoted on People (February 11, 2016), "Next Stop Mongolia? Leonardo DiCaprio Wins $95K Bid for Expedition at Star-Studded Charity Auction"
 * We were peers, I think. Leo's an incredibly intelligent guy who's been through a great amount of life experience over the course of the last few years. He's very dedicated and I think he had a very good idea of what he wanted to do and how he wanted to do it.
 * Tom Hanks speaking on the working relationship he has with Leonardo DiCaprio on the set of Catch Me If You Can []
 * He reminds me of that excitement when De Niro and I stumbled upon a way of working together - a similar kind of energy to the actors in the 1970s. It’s very rare for me to find that kind of connection again. Leo will give me the emotion where I least expect it and could only hope for it about three or four scenes. And he can do it take after take."
 * Martin Scorsese
 * You know, I worked with Leonardo when he was 18 [on The Quick and the Dead]. He was a virgin, and he would talk about that constantly. So I'm hoping we have some time so he can fill in what's happened in between. Maybe show some photos. Because I'm sure life's different now.
 * - Russell Crowe (EW November 2, 2007)

 * DiCaprio is both a famous actor and perhaps the world’s best-known climate activist. He doesn’t speak on the subject of carbon emissions so much as he preaches. “Humans have put our entire existence into jeopardy,” DiCaprio thunders. Climate change is “the most urgent threat facing our entire species.” Those who question climate policy, he declares, should be banned from public office. “The scientific consensus is in, and the argument is now over.” Few preachers live up to the standards they set from the pulpit, and DiCaprio is no exception. In the summer of 2016, DiCaprio was scheduled to receive an award from the environmental group Riverkeeper. He was in Cannes attending the film festival at the time, so he chartered a private jet to fly from France to New York and back. That’s an eight-thousand-mile round-trip, which in addition to being physically exhausting, amounts to a gargantuan carbon footprint, bigger than the average African might emit in a lifetime. For DiCaprio, it was just another Cannes Film Festival. The year before, he was photographed off the coast of France meandering alone on the deck of a 450-foot, $200 million yacht, which he’d rented as an accommodation for the week. Once again, a lot of carbon.
 * Tucker Carlson, Ship of Fools: How a Selfish Ruling Class Is Bringing America to the Brink of Revolution (2018)
 * "His two eyes are different," says Lasse Hallstrom, who directed Leo in what may be his best movie, What's Eating Gilbert Grape. "The left eye is very soft and empathetic. The right eye is more analyzing. One eye oozes warmth, while the other is more penetrating. One eye is psyche, the other is intellect."
 * - Danny Boyle (The Face, February 2000)

 * He's probably the world's most beautiful-looking man, yet he doesn't think that he's gorgeous. And to me, he's just smelly, farty Leo.
 * - Kate Winslet (Vanity Fair, January 1998)

 * With those eyes and his intellect, I see no real limit to his potential.
 * - Lasse Hallström (USA Today, April 19, 1995)

title: Leonardo DiCaprio


text:
User talk:62.68.68.230

~ UDScott 13:56, 22 January 2007 (UTC)

title: User talk:62.68.68.230


text:
Oklahoma! (1955 film)

Oklahoma! is a 1955 musical film about a couple of young cowboys who win the hearts of their sweethearts in the Oklahoma territory at the turn of the century.
 * Directed by Fred Zinnemann. Written by Sonya Levien and William Ludwig, based on the play by Oscar Hammerstein II.

Now a motion picture as big as all outdoors! taglines

Curly McLain

 * [singing] There's a bright golden haze on the meadow, There's a bright golden haze on the meadow. The corn is as high as a elephant's eye, And it looks like it's climbin' clear up to the sky. Oh, what a beautiful mornin', Oh, what a beautiful day! I got a beautiful feelin' Everything's goin' my way.
 * Oh What a Beautiful Mornin'

 * [singing] Chicks and ducks and geese better scurry When I take you out in the surrey, When I take you out in the surrey with the fringe on top! Watch that fringe and see how it flutters When I drive them high steppin' strutters. Nosey pokes'll peek thru' their shutters and their eyes will pop! The wheels are yeller, the upholstery's brown, The dashboard's genuine leather, With isinglass curtains y' can roll right down, In case there's a change in the weather.
 * The Surrey With the Fringe On Top

 * [about Laurey] If she liked me any more, she'd sic the dogs on me.

 * [to Jud] How did you get to be the way you are anyhow? A-sittin' up here in this filthy hole? [referring to the smokehouse] Why don't you do something healthy once in a while, instead of staying shut up here, a-crawlin' and a-festerin'?

Others

 * Carnes: [to Ali, cocking his gun] That's enough. In this country that better be a proposal of marriage.

 * Ali Hakim: [about Ado Annie] I wanted to marry her when I saw the moonlight shining on the barrel of her father's shotgun.

 * Aunt Eller Murphy: [with gun in hand] SING! SING! C'mon now! Sing!

 * Jud Fry: [to Laurey] Look at me. I'm a hired hand. I got dirt on my hands. Pig slop. I ain't fit to touch you, am I - you're better. Oh, you're so much better, Miss Laurey Williams! Well we'll see how much better you are, and then you won't be so free and easy and hifalutin' with your airs! You such a FINE lady!

Dialogue

 * Ado Annie: Sometimes there seems like times that men ain't got no need for women.
 * Girl: There's sometimes women ain't got no need for men.
 * Ado Annie: Yeah, but who wants to be dead?

 * Will: Now that I got that fifty dollars, you name the date.
 * Ado Annie: August 15th.
 * Will: Why August 15th?
 * Ado Annie: Because that was the first day I'se kissed!
 * Will: Oh was it? I didn't remember that!
 * Ado Annie: You wasn't there.

 * Laurey: Curly! You're sittin' on the stove!
 * Curly: Yeouch!
 * [Jumps up, feels the stove]
 * Curly: Cold as a hunk of ice.
 * Laurey: Wish it would've burned a hole in your pants.

 * Ali: It's a wonderful thing to be married. I got a brother in Persia got six wives.
 * Ado Annie: Six wives all at once?
 * Will: Why, sure. That's the way they do in them countries.
 * Ali: Not always; I got a brother in Persia only got one wife. He's a bachelor.

 * Ado Annie: He called me his Persian kitten!
 * Carnes: What'd you call her that for?
 * Ali: Ohh - I don't remember...
 * Ado Annie: I do! He said I's like a Persian kitten cause they is the cats with the soft round tails!

 * Ali: You'd hardly ever see your daughter no more!
 * Carnes: That'd be all right. Just take care of her, son.

 * Will: I don't know what to make of you! You're too purty to be a skunk! Too thin to be a snake! Too little to be a man, and too big to be a mouse! I reckon you're a rat!
 * Ali: That's logical.

 * Aunt Eller Murphy: [singing] I'd like to say a word for the cowboys.
 * Carnes: Oh, you would, would you?
 * Aunt Eller Murphy: [singing] The road he treads is difficult and stony. He rides for days on end with just a pony for a friend...
 * Ado Annie: I sure am feelin' sorry for the pony!

Taglines

 * Now a motion picture as big as all outdoors! (first run Todd-AO version)

 * Complete...Intact...with Every Scene...Every Song!

 * Now everyone can see it-at popular prices!

 * Complete - intact - with every scene - every song - of the motion picture that ran a year on Broadway at $3.50!

 * It's Here!

 * The best loved musical of our time!

Cast

 * Gordon MacRae - Curly McLain
 * Gloria Grahame - Ado Annie Carnes
 * Gene Nelson - Will Parker
 * Charlotte Greenwood - Aunt Eller Murphy
 * Shirley Jones - Laurey Williams
 * Eddie Albert - Ali Hakim
 * James Whitmore - Andrew Carnes
 * Rod Steiger - Jud Fry
 * Barbara Lawrence - Gertie Cummings
 * Jay C. Flippen - Ike Skidmore
 * Roy Barcroft - Marshal Cord Elam

title: Oklahoma! (1955 film)


text:
Rio Ferdinand

Rio Ferdinand (born 7 November 1978) is an English footballer of mixed St Lucian and Anglo-Irish descent. He plays at centre-back for Manchester United in the FA Premier League and at the international level for the England national football team.

Quotes

 * Gary Neville is the club captain but has been injured for the best part of a year now - and Giggsy's taken on the mantlepiece.
 * Rio Ferdinand commenting on the Manchester United club captaincy.[]

 * My name was out there in the public arena for people to make assumptions on why I missed a drugs test. That stigma is something that may never go away. I go out there and play for the fans and for my family and for myself and to have that taken away from me in such a way was disheartening and something that really did shock me. I'm man enough to admit that I did cry.
 * quoted in

 * It was wicked meeting Nelson Mandela.
 * Rio Ferdinand commenting on what it was like meeting Nelson Mandela[]

 * His temperament is always there to be questioned because he plays on the edge. That is just the way he plays.It is a cliche but if you took that edge away from Wayne he wouldn't be the same player and I would rather have the Wayne Rooney we have now.
 * Rio Ferdinand on Wayne Rooney[]

 * It hit me like a thunderbolt!
 * Rio on how the drugs ban affected him[]

 * Nobody wants to be associated with failing to qualify for the World Cup finals. I cannot imagine the shame of it.
 * Rio Ferdinand's insight on how it would feel, not qualifying for World Cup finals[]

 * I set myself high standards on the pitch and know I have not always lived up to them this season
 * Rio Ferdinand on standards[]]

 * Football is the most important thing in my life, but I do have a life outside football and this is one part. The TV, the music, the fashion - it all goes to make up Rio Ferdinand.
 * Rio Ferdinand on his TV Show, "Rio's World Cup Wind Ups" []

Rio on Racism Sourced

 * If you come out with racist comments, then I believe you shouldn’t be allowed to come to a football match. Don’t be so narrow minded, you’re bigger than that.
 * Rio[]

About Rio Ferdinand Sourced

 * I was disappointed it wasn't reported that I said Rio Ferdinand was the best defender in the world.
 * Sven Goran Eriksson []

title: Rio Ferdinand


text:
User talk:196.202.82.252

Thanks for experimenting with the page Education on Wikiquote. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. Thanks. —LrdChaos (talk) 15:40, 22 January 2007 (UTC)

title: User talk:196.202.82.252