text:
Total Recall (1990 film)

Total Recall is a 1990 American science fiction film about a man who is haunted by a recurring dream about a journey to Mars. He hopes to find out more about this dream and buys a holiday at Rekall Inc. where they sell implanted memories. But something goes wrong with the memory implantation and he remembers being a secret agent fighting against the evil Mars administrator.
 * Directed by Paul Verhoeven. Written by Ronald Shusett, Dan O'Bannon, Jon Povill and Gary Goldman (screenwriter), based on the novelette We Can Remember It for You Wholesale by Philip K. Dick.

"How would you know if someone stole your mind?"taglines

Douglas Quaid

 * [chances upon another pair of guards after fooling Richter and company with the hologram-bracelet] Ha ha ha, you think this is the real Quaid? [guards look behind them] It is! [Quaid shoots the guards]

Carl Hauser

 * [on video] Howdy, Quaid. If you're watching this, that means that Kuato is dead, and you led us to him. I knew that you wouldn't let me down. Sorry for all of the shit I've put you through, but hey, what are friends are for? All I want to do is wish you happiness and good living, old buddy, but unfortunately, that's not gonna happen. You see, that's "my" body you have there, and I want it back. Sorry for being an Indian giver, but I was here first. So, adios, amigo! [the screen zooms out to reveal Cohaagen, who puts his hand on Hauser's shoulder] And thanks for not getting yourself killed. Hey, maybe now we will meet in our dreams. You never know. [they laugh and walk off-camera]

Dialogue

 * [A shuttle has just docked at Mars. Tourists disembark and are vetted into a processing station, to include a woman in a frumpy dress. A member of Mars Customs looks over her passport]
 * Customs Agent: How long do you plan to spend on Mars, M'aam?
 * Fat Lady: Two weeks.
 * Customs Agent: [stamps passport] Have you brought any fruits or vegetables onto the planet?
 * Fat Lady: Two weeks.
 * Customs Agent: Excuse me?
 * Fat Lady: Two weeks..two weeks... [starts having a seizure, attracting the attention of everyone. Richter, who is on Mars, pays attention to this odd sight]
 * Richter: [low voice] Quaid. [normal] That's Quaid!
 * Captain Everett: What?
 * Richter: The woman. Get him... her!
 * Everett: [points to woman] Arrest that woman!
 * [The security troops surround the woman as she stops stuttering and touches her ear. Her head suddenly splits open revealing that it's a mask with Quaid underneath]
 * Douglas Quaid: [smiles at one guard and tosses head] Catch! [guard does catch the head]
 * Fat Lady: Get ready for a surprise! [Head explodes as Quaid runs past the guard]

 * [Richter visits Martian Administrator Vilos Cohaagen]
 * Richter: [upbeat] Mr Cohaagen. [notices him stoically looking outside] You wanted to see me, sir?
 * Cohaagen: [turns around to look at him] Richter, do you know why I'm such a happy person?
 * Richter: No, sir.
 * Cohaagen: Because I've got the greatest job in the solar system. As long as the terbinium keeps flowing, I can do anything I want. Anything! [rises from his desk and approaches Richter] In fact, the only thing I worry about is that, one day, if the rebels win, it all might end. [points finger in Richter's face] And you're FUCKING MAKING IT HAPPEN! First, you tried to kill Quaid and then you let him get away.
 * Richter: He had help from our side, sir.
 * Cohaagen: I know that.
 * Richter: But, I thought -
 * Cohaagen: Who told you to THINK? I don't give you enough information to THINK! You do as you're told, THAT'S WHAT YOU DO!

 * [Dr. Edgemar's trying to explain Quaid's situation and offers a special pill with Lori present]
 * Quaid: All right, let's say you're telling the truth and this is all a dream, then I could pull this trigger [points gun at Edgemar] and it won't matter.
 * Lori: Doug, don't do it.
 * Dr. Edgemar: It won't make the slightest difference to me Doug. The consequences to you will be devastating. In your mind, I'll be dead, and with no one to guide you out, you'll be stuck in permanent psychosis.
 * Lori: Doug, let Dr Edgemar help you.
 * Dr. Edgemar: The walls of reality will come crashing down. One minute, you'll be the savior of the rebel cause; next thing you know, you'll be Cohaagen's bosom buddy. You even have fantasies about alien civilizations as you requested; but in the end, back on Earth, you'll be lobotomized! [tries to let it sink in Quaid] So get a grip on yourself, Doug, and put down that gun! [Quaid lowers his gun] Take the pill and put it in your mouth.
 * [Quaid puts the pill in his mouth]
 * Dr. Edgemar: Swallow it.
 * [Quaid pans around between Edgemar and Lori, then as a sweat drop runs down Edgemar's face, Quaid shoots Edgemar in the head, and spits the pill out]
 * Lori: Now you've done it, now you've done it!

 * [Lori is about to kill Melina but Quaid shoots her dagger off her hand]
 * Lori: Doug, honey... you wouldn't hurt me, would you, sweetheart? Sweetheart, be reasonable. After all, we're married!
 * Douglas Quaid: [Lori goes for her gun, Quaid shoots her in the head, killing her] Consider that a divorce!
 * Melina: That was your wife? [Quaid nods; Melina gets up] What a bitch!

 * [Benny has shot Kuato after the security forces storm the Resistance hideout]
 * Kuato: Quaid, Quaid...
 * Benny: Forget it, man, his fortune-telling days are over.
 * Kuato: Start the reactor...free Mars-[Richter finishes off Kuato with a headshot]
 * Richter: [pause; calmly, to Quaid] Mr Cohaagen would like to talk to you.

 * [Quaid and Melina find the terbinium oxygen generator's control room. Quaid prepares to activate it, but...]
 * Cohaagen: [turns on lights at Quaid] Don't touch that! Get away! Get back!
 * Douglas Quaid: What are you afraid of? Turn it on.
 * Cohaagen: Impossible! Once the reaction starts, it'll spread to all the turbinium in the planet. Mars will go into global meltdown. That's why the aliens never turned it on.
 * Quaid: And you expect me to believe you?
 * Cohaagen: Who gives a shit what you believe?! In 30 seconds you'll be dead, and I'll [shows detonator] blow this place up and be home in time for Corn Flakes! [Shoots several inches near Quaid] I didn't want it to end this way, I wanted Hauser back, but no, you had to be Quaid!
 * Quaid: I am Quaid.
 * Cohaagen: You're nothing! You're nobody! You're a stupid dream! [aims firearm] Well, all dreams come to an end.

 * [Quaid and Melina are amazed at the newly terraformed Mars]
 * Melina: I can't believe it, it's like a dream. [sees Quaid distraught] What's wrong?
 * Douglas Quaid: I just had a terrible thought... what if this is a dream?
 * Melina: Well, then, kiss me quick before you wake up!

About Total Recall (1990 film)

 * I felt the movie, in some way, should not take itself too seriously. In fact, ultimately, the casting of Arnold—he was already cast before I was there. So I had to take Arnold. I liked the script already, but Arnold was playing the main part. So, take it or leave it. I said I wanted to do it with Harrison Ford, like in "Blade Runner." But I might have made a mistake because "Blade Runner" is also very serious. And because Arnold was there, that changed everything. Arnold being there made it really necessary to flip it a little bit. And I think, in retrospect, it was a gift. Arnold was supposed to be an accountant in the original story and it was still in the script. And I'm like, "Arnold an accountant? That's ridiculous." So I proposed, "Let's have him do something physical." What are those things he's using?
 * Paul Verhoeven

Taglines

 * They stole his mind. Now he wants it back. Get ready for the ride of your life.
 * Your mind is the center of your life. It is everything you hear, everything you see, everything you feel... It is everything you ARE. You wouldn't know if you lost your mind... Would you know if someone STOLE it?
 * What if you discovered somebody stole your mind... and there was only one way to get it back?
 * In this world, they can steal your mind, erase your memory, and give you another identity. But the most dangerous thing that can happen to you is... TOTAL RECALL.
 * He'll show you a side of Mars that no one on Earth has ever seen before... He should be so lucky.

Cast

 * Arnold Schwarzenegger - Douglas Quaid/Carl Hauser
 * Sharon Stone - Lori Quaid
 * Rachel Ticotin - Melina
 * Ronny Cox - Vilos Cohaagen
 * Michael Ironside - Richter
 * Marshall Bell - George/Kuato
 * Mel Johnson Jr. - Benny
 * Michael Champion - Helm
 * Roy Brocksmith - Dr. Edgemar
 * Ray Baker - Bob McClane
 * Rosemary Dunsmore - Dr. Lull
 * David Knell - Ernie
 * Alexia Robinson - Tiffany
 * Dean Norris - Tony
 * Mark Carlton - Bartender
 * Marc Alaimo - Everett
 * Robert Costanzo - Harry
 * Pricilla Allen - The Fat Lady
 * Jullia Alonzo- Babu

title: Total Recall (1990 film)


text:
User talk:QAT

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

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User talk:Brian6p

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User talk:Slbbass37~enwikiquote

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title: User talk:Slbbass37~enwikiquote


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User talk:Loverspast~enwikiquote

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Unfortunately, your account clashes with another account also called Loverspast. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Loverspast~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.

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Renamed
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title: User talk:Loverspast~enwikiquote


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User talk:Blind Priest

Welcome
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title: User talk:Blind Priest


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User talk:Gaznev

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User talk:GullibleCZ~enwikiquote

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User talk:Corey.schacter

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title: User talk:Corey.schacter


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User talk:Big-B 36

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title: User talk:Big-B 36


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User talk:Mrcheesypants~enwikiquote

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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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title: User talk:Mrcheesypants~enwikiquote


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User talk:Prasram~enwikiquote

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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:Prasram~enwikiquote


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User talk:Xmcrxtutsxmcrx

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User talk:Zamb

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User talk:Thinh~enwikiquote

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Your account will be renamed
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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 Thinh. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Thinh~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.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:36, 17 March 2015 (UTC)

Renamed
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title: User talk:Thinh~enwikiquote


text:
Dave Grohl

David Eric Grohl (born January 14, 1969) is an American rock musician, multi-instrumentalist, singer, songwriter, and producer. He is best known as the former drummer for the grunge band Nirvana and the founder and frontman of the rock band Foo Fighters, of which he is the lead vocalist, one of three guitarists, and primary songwriter.

Quotes

 * What's the last thing a drummer says in a band?
 * "Hey guys, why don't we try one of my songs?'''
 * "Give the Drummer Some," www.fooarchive.com (1995)

 * "Masturbation is one of the safest ways to explore your own sexuality."
 * Sex in the 90s, Part IX: The Safest Sex of All

 * Rock stars suck. Man, I'd be so embarrassed at being called a rock star. A lot of those connotations aren't conductive to my lifestyle. I don't do drugs, I don't fuck groupies, I don't spend all my money on limos and mansions and cocaine. I have a car and a small house and I go on tour and go to bed early and wake up and have tea. I'm a worker, man. I don't think many people see me as a rock star; hopefully they see me as a normal person. 'Musician' would be just fine.
 * Quoted in

Kerrang!: ''The last time Grohl really thought about death was also the last time he cried. On that occasion he was sitting in a Los Angeles bar, when a fellow foot soldier of the grunge wars walked in. It was Jerry Cantrell, seeking to drown his sorrows on the night that former Alice In Chains vocalist Layne Staley died in his Seattle home.''

Grohl: I didn't know those Alice In Chains guys too well, but for some reason it just broke my heart. I got really upset as I talked to him. It seemed like such a shame that another musician had died of a drug overdose.

Kerrang!: There's a long pause, and Dave Grohl asks for another cup of coffee from the Eurostar waiter, before he continues.

Grohl: In 1994 when Kurt died I realised that the most important thing is life and family and love and happiness. When I was 17 or 18, rock was the most important thing to me, but life is a lot bigger than any band you'll have in Kerrang magazine, bigger than any record the Foo Fighters will ever make. Don't get me wrong, I'm very passionate and devoted to what I do, my heart is filled with this band, but this is not my entire life. The Foo Fighters just made their best record, I'm so excited and very proud and I can't wait to see what happens with the album, but more than that I can't wait to see what's going to happen with the rest of my life.
 * Quoted in

 * I still dream about Kurt. Every time I see him in a dream, I’ll be amazed and I get this feeling that everyone else thinks he’s dead. It always feels totally real, probably because I’m a very vivid dreamer. But, in my dreams, Kurt’s usually been hiding - we’ll get together and I’ll end up asking him, ‘God, where have you been?’
 * Quoted in

 * One thing I did before Nirvana became popular was I stopped doing drugs.

By the time I was 20, I just stopped doing that stuff because it didn't make me feel emotionally, mentally or physically healthy.

I have a drink every now and again, sure, but if you want to weather a career like I've done, you can't do this shit half-assed.

It's challenging and you have to try and keep your head - there's a lot going on around you all the time and with time you get better at keeping on top of it all.
 * Quoted in

 * Perez [Hilton]: Are you drunk right now? Grohl: No, I gotta play. Perez: Britney Spears has been getting wasted all the time, hasn't stopped her. Grohl: Yeah, but she doesn't have to sing live.
 * Quoted in Shirley Halperin, "My Summer With the Foo Fighters," Entertainment Weekly (2007-09-21)

 * Around the time that I recorded the first Foo Fighters tape, I was reading a lot of books on UFO’s. … So, since I had recorded the first record by myself, playing all the instruments, but I wanted people to think that it was a group, I figured that FOO FIGHTERS - WW2 term for UFO’s - might lead people to believe that it was more than just one guy. Silly, huh? Had I actually considered this to be a career, I probably would have called it something else, because it’s the stupidest fucking band name in the world.
 * Quoted in Clash Music, "Foo Fighters on Their Band Name" Clash Music (2010-01-11)

 * I'd like to imagine I won't end up in hell, but I think I've done too much acid and listened to too much death metal to sit on a cloud next to God with angels floating above my head.
 * Maxim Magazine (January 2008)

About Dave Grohl

 * Why doesn't Dave Grohl run for President? I think he'd be good, he seems a very organised man. He has about 12 fingers in about 50 pies, and they're all great pies, and great fingers. What I'm saying is that we really respect that band, and I fucking love him!
 * Chris Martin, quoted on www.foofighters.com (2002)

 * I love his voice (Dave) and the song writing is scary; it's phenomenal. He's the most inspirational guy out there for me now.
 * Mark DiCarlo, quoted on www.foofighters.com (2000)

title: Dave Grohl


text:
Castlevania: Portrait of Ruin

Castlevania: Portrait of Ruin is an action-adventure game developed and published by Konami for the Nintendo DS. It is part of the Castlevania video game series, and is the third installment of the series to be released for the Nintendo DS.

Quotes
Konami Digital Entertainment Co., Limited. Castlevania: Portrait of Ruin. Konami Digital Entertainment Co., Limited. Nintendo DS. (in English). (December 5, 2006)

 * Charlotte Aulin: In short, think of it as a series of walls that surround the magic controlling Dracula's Castle. The painting itself is just the outermost wall. As soon as you break it, it'll regenerate. It's unbreakable.
 * Jonathan Morris: How convenient. So now what?
 * Charlotte Aulin: I'll align my magic with the painting's so we can enter it. That'll be the best way to circumvent the castle's magic. The risk is quite high though.

 * Jonathan Morris: Sorry, Charlotte. Whenever someone mentions my father, I just lose it.<
 * Charlotte Aulin: That's alright. It's not like you started hating your father just now. But what's the point at getting angry at someone who isn't even here?
 * Jonathan Morris: It's because he's not here. Listen, My father only taught me the basics of fighting. Then he went and got himself killed, leaving me the heir to the whip! This whip I can't even use. He was always so selfish.
 * Charlotte Aulin: There must have been a reason. You have to understand the truth of why you've had to fight until now without the whip's power.
 * Jonathan Morris: Maybe so... But now Dracula may be reviving, and I can't even use the power that I'm meant to use! Even though my father could.

 * [Jonathan and Charlotte finally arrive in Dracula's chamber. Dracula sips from a wine glass as he looks out the window, his back turned to his guests]
 * Jonathan Morris: Oh, so you're ignoring me? Turn and face me! [Jonathan leaps at Dracula, but Death appears and knocks him back]
 * Death: You will not touch Lord Dracula! This time, let's fight for real!
 * [Dracula finishes his wine glass and throws it aside, finally turning to face Jonathan and Charlotte]
 * Dracula: Enough with this sideshow. Why don't we show him our combined power?

Dialogue
( arthill winds starting )
 * Jonathan: Let's go to boss: Dullahan!

Arthill Locations

 * 1) City of Haze
 * 2) Sandy Grave

Boss Attacks

 * 1) Andras
 * 2) Axe Armor
 * 3) Armor Knight
 * 4) White Dragon
 * 5) Astarte

title: Castlevania: Portrait of Ruin


text:
User talk:75.21.97.225

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 21:04, 29 December 2006 (UTC)

title: User talk:75.21.97.225


text:
User talk:66.129.41.224

- InvisibleSun 22:05, 29 December 2006 (UTC)

title: User talk:66.129.41.224


text:
The Long Weekend

The Long Weekend is a movie (filmed in 2004) starring Chris Klein and Brendan Fehr as two brothers, Cooper (Klein) and Ed Waxman (Fehr), and details Cooper's attempts to hook his brother up with women over a long weekend. It also stars Paul Campbell, Chandra West, and Cobie Smulders.

Quotes

 * "May I take your temperature, vaginally?"

title: The Long Weekend


text:
User talk:83.151.156.148

- InvisibleSun 23:40, 29 December 2006 (UTC)

title: User talk:83.151.156.148


text:
User talk:REVENGA3

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User talk:BenWhitey~enwikiquote

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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 BenWhitey. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name BenWhitey~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.

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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)

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User talk:Samwilson

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User talk:Italo Svevo

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User talk:Oldironman

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User talk:Beana

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User talk:KaJuN

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User talk:Zizibaluba

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User talk:Trance Kuja

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User talk:Getevans

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User talk:Adreeloveswilt

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User talk:The Invisible Man

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Your account will be renamed
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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 The Invisible Man. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name The Invisible Man~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.

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User talk:Igorndhaswog

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John Constable

John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home. He was one of the earliest painters who painted with oil in 'plain air'; he made a lot of fresh and direct oil-sketches of the English landscape. john constable painted the scene of woods and water in 1830.

Quotes of John Constable

 * chronologically arranged, after date of the quotes of John Constable

1800s - 1810s

 * Here I am quite alone amongst the Oaks and solitudes of Helmingham Park. I have taken quiet possession of the parsonage finding it quite empty. A woman comes up from the farm house (where I eat) and makes the bed; and I am left at liberty to wander where I please during the day. There are abundance of fine trees of all sort; through the place upon the whole affords good objects [rather] than fine scenery, but I can badly judge yet what I may have to shew You. I have made one of two... drawing that may be useful. I shall not come home yet.
 * Quote from Constable's letter to John Dunthorne on his drawing: 'Helmingham Dell,' 1800, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 391

 * I paint by all the daylight we have and that is little enough, less perhaps than you have by much... imagine to yourself how a purl must look through a burnt glass.
 * Letter to John Dunthorne, 1801; as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 510

 * And however one's mind may be elevated, and kept us to what is excellent, by the works of the Great Masters — still Nature is the fountain's head, the source from whence all originally must spring — and should an artist continue his practice without referring to nature he must soon form a manner, & be reduced to the same deplorable situation as the French painter mentioned by Sir J. Reynolds, who told him that he had long ceased to look at nature for she only put him out. For the last two years I have been running after pictures, and seeking the truth at second hand. I have not endeavoured to represent nature with the same elevation of mind — but have neither endeavoured to make my performances look as if really executed by other men...  ..There is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.  I am come to a determination to make no idle visits this summer, nor to give up my time to common-place people. I shall return to Bergholt, where I shall make some laborious studies from nature — and I shall endeavour to get a pure and unaffected manner of representing the scenes that may employ me.
 * 3 quotes in Constable's letter to John Dunthorne (29 May 1802), from John Constable's Correspondence, ed. R.B. Beckett (Ipswich, Suffolk Records Society, 1962-1970), part 2, pp. 31-32

 * There is room enough for a natural 'painture'. The great vice of the present day is bravura, an attempt to do something beyond the truth. In endeavouring to do something better than well, they do what in reality is good for nothing. Fashion always had, & will have, its day — but truth (in all things) only will last, and can only have just claims on posterity.
 * Letter to John Dunthorne (29 May 1802), from John Constable's Correspondence, part 2, pp. 31-32

 * When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.
 * As quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40

 * I have been living a hermit-life, though always with my pencil in my hand.. .How much real delight have I had with the study of landscape this summer! Either I am myself improved in the art of seeing nature, which Sir Joshua call painting, or nature has unveiled her beauties to me less fastidiously. Perhaps there is something of both, so we will divide the compliment.
 * Quote from Constable's letter to Rev. John Fisher (22 July 1812), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40

 * It is so ambiguous as to be scarcely intelligible in some parts (and those the principal), yet as a whole, it is novel and affecting.
 * Quote from Constable's letter to his future wife Maria Bicknell, 1812; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 368
 * Constable wrote his love about Turner's landscape-painting 'Snow Storm: Hannibal and his Army Crossing the Alps' (Tate Gallery, No. 490); The storm effects in this painting are typical of many of Turner's skies

 * But You know, Landscape is my mistress — 't is to her that I look for fame — and all that the warmth of the imagination renders dear to Man.
 * Letter to his future wife, Maria Bicknell (22 September 1812), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 23

 * I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can... but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done – I think however my mind is more settled and determined than ever on this point.
 * Quote in his letter to John Dunthorne (14 February 1814), as quoted in Constable (Tate Gallery Publications, London, 1993), p. 151

 * I am going on very well with my pictures... the park [ Wivenhoe Park ] is the most forward — the great difficulty has been to get so much in as they wanted (his client, the Slater-Rebows) to make them acquainted with the scene — on my left is a grotto with some elms — at the head of a piece of water — in the center is the house over a beautifull wood and very far to the right is a Deer House — what it was necessary to add. So that my view comprehended to many degrees — but to day I got over the difficulty and I begin to like it 'myself'... I live in the park and Mrs. Rebow says I am very unsociable.
 * Letter to his future wife, Maria Bicknell (26 August 1816), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 119

1820s

 * Painting is but another word for feeling.
 * Quote from Constable's letter to Rev. John Fisher October 1821

 * How sweet and beautifull is every place & I visit my old Haunts with renewed delight... nothing can exceed the beautiful green of the meadows which are beginning to fill with butter Cups — & various flowers — the birds are singing from morning till night but most of all the Sky larks — How delightfull is the Country.
 * Letter to his wife, Maria Bicknell (20 April 1821); as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 28

 * This appearance of the Evening was... just after a very heavy rain — more rain in the night and very — [?light] wind which continued all the — day following while making – this sketch observed the Moon easing – very beautifully... [in the] due East over the — heavy clouds from which the late showers – had fallen.
 * Inscription: 12 September, 1821, written on the back of 'Hampstead Heath, Sun setting over Harrow,' his sketch in oil on paper; as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London. 1993), p. 221

 * I know very well what I am about, & that my skies have not been neglected, though they often failed in execution — and often, no doubt, from an over-anxiety about them — which will alone destroy that easy appearance which nature always has — in all her movements.
 * Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78

 * But the sound of water escaping from mill-dams, &c., willows, old rotten planks, slimy posts, and brickwork, I love such things. Shakespeare could make everything poetical; he tells us of poor Tom's haunts among "sheep cotes and mills." As long as I do paint, I shall never cease to paint such places. They have always been my delight.
 * Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78

 * Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.
 * Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78

 * I am most anxious to get into my London painting-room, for I do not consider myself at work unless I am before a six-foot canvas. I have done a good deal of skying for I am determined to conquer all difficulties, and that among the rest.
 * Quote from John Constable's letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 41

 * That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids. Sir Joshua Reynolds speaking of the "Landscape" of Titian & Salvator & Claude says 'Even their skies seem to sympathise with the Subject.' I have often been advised to consider my sky as a 'hite Sheet thrown behind the Objects'. Certainly, if the sky is 'obtrusive,' (as mine are) it is bad, but if they are 'evaded' (as mine are not) it is worse, they must and always shall with me make an effectual part of the composition. It will be difficult to name a class of landscape in which the sky is not the 'key note,' the 'standard of Scale' and the chief 'Organ of sentiment.' You may conceive, then, what a "white sheet" would do for me, impressed as I am with these notions.
 * Letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42

 * The sky is the 'source of light' in nature, and governs every thing. Even our common observations on the weather of every day, are suggested by them, but it does not occur to us. Their difficulty in painting both as to composition and execution is very great, because, with all their brilliancy and consequence, they ought not to come forward, or be hardly thought about in a picture... I know very well what I am about, and that my skies have not been neglected, though they have often failed in execution, no doubt, from an over-anxiety about them, which will alone destroy that easy appearance which nature always has in all her movements.
 * Letter to Rev. John Fisher (23 October 1821), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 229 and also in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42

 * I have likewise made many 'skies' and effects — for I wish it could be said of me as Fuselli says of Rembrandt, 'he followed nature in her calmest abodes and could pluck a flower on every hedge — yet he was born to cast a steadfast eye on the bolder phenomena of nature'... We have had noble clouds & effects of light & dark & color.
 * Quote from a letter to Rev. John Fisher in 1821 on his oil-sketches of stormy weather, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London 1993), p. 222

 * Sept. 6th, 1822, looking S.E. – 12 to 1 o'clock, fresh and bright, between showers – much the look of rain all the morning, but very fine and grand all the afternoon and evening.
 * Constable's inscription at the back of a cloud study, 6 September 1822, as quoted in Constable, Leslie Parris and Ian Fleming-Williams, Tate Gallery Publications, London 1993, p. 233

 * A sketch will not serve more than one state of mind & will not serve to drink at again & again — in a sketch there is nothing but the one state of mind — that which you were in at the time.
 * Letter to Rev. John Fisher (3 November 1823), from John Constable's Correspondence, ed. R.B. Beckett (Ipswich, Suffolk Records Society, 1962-1970), part 6, pp. 142-143

 * They [French critics of the Paris Salon of 1824, where his painting 'the Hay Wain' received a gold medal] are very amusing and acute — but very shallow and feeble. Thus one — after saying: "'it is but justice to admire the truth — 'the color' — and 'general vivacity' & richness —" – yet they want the objects more formed and defined &c, and say they are like the rich preludes in musick, and the full harmonious warblings of the Aeolian lyre, which means 'nothing,' and they call them orations — and harangues — and high-flown conversations affecting a careless ease — &c &v &c - Is not some of this 'blame' the highest 'praise' – what is poetry? – What is Coleridge's Ancient Mariner (the very best modern poem) but something like this?
 * Quote from John Constable's letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable, (Tate Gallery Publications, London, 1993), p. 205

 * My picture [A Boat Passing a Lock, 1823-6] is liked at the [Royal] Academy, indeed it forms a decided feature and its light can not be put out. Because it is the light of nature — the Mother of all that is valuable in poetry — painting or anything else... my execution annoys most of them and all the scholastic ones – perhaps the scarifies I make for 'lightness' and 'brightness' is too much but these things are the essence of Landscape.
 * Letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 288

 * No man who can do any one thing well will be able to any different thing equally well.
 * Quote from John Constable's letter to Rev. John Fisher 1825

 * Our little drawing Room [Constable's lodgings at Hamptstead with a view on London] commands a view unequalled in Europe — from Westminster Abbey to Gravesend — the dome of St Paul's in the Air — realizes Michael Angelo's Idea on seeing that of the Pantheon — 'I will build such a thing in the Sky.'
 * Letter to Rev. John Fisher (26 August 1827); as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 473

 * It is always my endeavour however in making a picture that it should be without a companion in the world. At least such should be a painters ambition.
 * Letter to a client, Mr Carpenter (23 July 1828), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 291

1830s

 * My art flatters nobody by imitation, it courts nobody by smoothness, nobody by petitelieness without either fal-de-lal or fiddle-de-dee; how then can I hope to be popular?
 * Quote from John Constable's letter to Mr. C.R. Leslie 22 June 1832

 * I had on Friday a long visit from Mr. --- alone; but my pictures do not come into his rules of whims of the art, and he said I had "lost my way." I told him that I had, perhaps other notions of art than picture admirers have in general. I looked on pictures as 'things to be avoided,' connoisseurs looked on them as things to be 'mitated'; and that, too, with such a defence and humbleness of submission, amounting to a total prostration of mind and original feeling, as must serve only to fill the world with abortions... But he was very agreeable, and endured the visit, I trust, without the usual courtesies of life being violated. What a sad thing it is that his lovely art is 'so wrested to its own destruction!' Used only to blind our eyes, and to prevent us from seeing the sub shine — the fields bloom — the tree blossom — and from hearing the foliage rustle; while old — black — rubbed out and dirty canvases take the place of God's own works.
 * Letter to Rev. John Fisher (2 April 1833), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 45

 * England, with her climate of more than vernal freshness, and in whose summer skies, and rich autumnal clouds, the observer of Nature may daily watch her endless varieties of effect.. ..to one brief moment caught [by the artist] from fleeting time..
 * Quote from Constable's Introduction of the 1833 edition of English landscape scenery, as cited in Constable's English Landscape Scenery, Andrew Wilton, British Museum Prints and Drawings Series, 1979; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 368
 * Constable expressed - in his Introduction to the 1833 edition of English landscape scenery - similar sentiments as contemporary landscape-painter Turner, according to Andrew Wilton

 * On the death of these great men [ Rembrandt, Ruysdael and Cuyp ] Landscape rapidly declined; and during almost the whole of the succeeding century, little was produced.. .From this degraded and fallen state it is delightful to say that landscape painting revived in our own country [England], in all its purity, simplicity, and grandeur, in the works of Wilson, Gainsborough, Cozens, and Girtin.
 * Quote from Constable's lecture at Hampstead, 1833; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 367
 * having discussed the important role of Rembrandt in landscape painting and mentioned the significance of Ruysdael and Cuyp, Constable identifies a decline in landscape painting in Europe

 * My friend Bonner has just set off to Charlotte Street to pack your picture (an old painting) and forward it; it is a beautiful representation of a summer's evening; calm, warm and delicious; the colour on the man's face is perfect sunshine. The liquid pencil of this school is replete with a beauty peculiar to itself. Nevertheless, I don't believe they had any 'nostrums,' but plain linseed oil; 'honest linseed' as old Wilson called it. But it is always right to remember that the ordinary painters of that day used, as now, the same vehicle as their betters, and also that their works have all received the hardening and enamelling effects of time, so that we must not judge of originality by these signs always.
 * Quote from John Constable's letter to Rev. John Fisher (20 December 1833), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), pp. 45-46

 * I ought to respect myself for my friends' sake, and my children's. It is time, at fifty-six, to begin, at least, to know oneself, — and I do know what I am not, and your regard for me has at least awakened me to believe in the possibility that I may yet make some impression with my "light" — my "dews" — my "breezes" — my bloom and freshness, — no one of which qualities has yet been perfected on the canvas of any painter in the world.
 * Quote from John Constable's letter to C.R. Leslie (March 1833), from The Letters of John Constable, R.A. to C. R. Leslie, R.A. 1826-1837 (Constable & Co., 1931), p. 104

 * My canvas soothes me into forgetfulness of the scene of turmoil and folly — and worse — of the scene around me. Every gleam of sunshine is blighted to me in the art at least. Can it therefore be wondered at that I paint continual storms? "Tempest o'er tempest roll'd" — still the "darkness" is majestic.
 * Letter to C.R. Leslie (1834), John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), vol. 3, p. 122; also quoted in Hugh Honour, Romanticism (Westview Press, 1979, ISBN 0-064-30089-7, ch. 3, p. 91

 * He [the artist in general] ought to have 'these powerful organs of expression' — colour and chiaroscuro — entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of.
 * Text for the 'Old Sarum', print in 'English Landscape' 1835/36, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 380

 * I am glad you encouraged me with the 'Stoke' [his painting 'Stoke-by-Nayland', circa 1835] What say you to a summer morning? July or August, at eight or nine o’clock, after a slight shower during the night, to enhance the dews in the shadowed part of the picture, under 'Hedge row elms and hillocks green.' Then the plough, cart, horse, gate, cows, donkey, &c. are all good paintable material for the foreground, and the size of the canvas sufficient to try one's strength, and keep one at full collar.
 * Letter to William Purton (6 February 1836), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 380

 * The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period.
 * quote from his exhibition-text of 1836; as quoted in: Ronald Parkinson: John Constable: The Man and His Art, V&A, London, 1998 (ISBN: 1-85177-243-X), p. 89 (taken from Wikipedia)
 * When Constable exhibited his watercolor 'Stonehenge' (he painted in 1835) one year later, he appended this short text to the title of his famous watercolor

 * We must bear in recollection that the sentiment of the picture is that of solemnity, not gaiety & nothing garish, but the contrary — yet it must be bright, clear, alive fresh, and all the front seen.
 * Letter to David Lucas (15 February 1836), on the mezzo print of the 'Salisbury Cathedral from the Meadows'; as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 37

 * He seems to paint with tinted steam, so evanescent, and so airy.
 * Letter to his brother George, 1836, referring to J M W Turner

 * My observations on clouds and skies are on scraps and bits of paper, and I have never yet put them together so as to form a lecture, which I shall do.. ..next summer. (1836)
 * Quoted in Leslie Parris and Ian Fleming-Williams, Constable, (Tate Gallery Publications, London, 1993), p. 37

his lectures History of Landscape Painting (1836)

 * Quotes from Constable's course of lectures The History of Landscape Painting, at the Royal Institution, Summer of 1836

 * I am anxious that the world should be inclined to look to painters for information about painting. I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities; ; and to show, by tracing the connecting links in the history of landscape painting, that no great painter was ever self-taught.
 * Quote from 'The History of Landscape Painting,' first lecture, Royal Institution (26 May 1836), from notes taken by C.R. Leslie

 * We see nothing truly till we understand it.
 * Quote from 'The History of Landscape Painting,' third lecture, Royal Institution (9 June 1836)

 * The landscapes of Ruysdael present the greatest possible contrast to those of Claude, showing how powerfully, from the most opposite directions, genius may command our homage. In Claude's pictures, with scarcely an exception, the sun ever shines. Ruysdael, on the contrary, delighted in, and has made delightful to our eyes, those solemn days, peculiar to his country and to ours, when without storm, large rolling clouds scarcely permit a ray of sunlight to break the shades of the forest.
 * Quote from 'The History of Landscape Painting,' third lecture, Royal Institution (9 June 1836), from notes taken by C.R. Leslie; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 366-67

 * Painting is a science and should be pursued as an inquiry into the laws of nature. Why, then, may not a landscape be considered as a branch of natural philosophy, of which pictures are but experiments?
 * Quote from 'The History of Landscape Painting,' fourth lecture, Royal Institution (16 June 1836), from John Constable's Discourses, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1970), p. 69.

 * The attempt to revive styles that have existed in former ages, may for a time appear to be successful, but experience may now surely teach us its impossibility. I might put on a suit of Claude Lorraine's clothes and walk into the street, and the many who knew Claude but slightly would pull off their hats to me, but I should at last meet with some one, more intimately acquainted with him, who would expose me to the contempt I merited.  It is thus in all the fine arts.  A new Gothic building, or a new missal, is in reality little less absurd than a new ruin.
 * Quote from Constable's Lecture at the Literary and Scientific Institution, Hampstead, (25 July 1836), from notes, taken by C.R. Leslie

 * The first impression and a natural one is, that the fine arts have risen or declined in proportion as patronage has been given to them or withdrawn, but it will be found that there has often been more money lavished on them in their worst periods than in their best, and that the highest honours have frequently been bestowed on artists whose names are scarcely now known.
 * Lecture, Literary and Scientific Institution, Hampstead, (25 July 1836), from notes taken by C.R. Leslie

 * The climax of absurdity to which the art may be carried, when led away from nature by fashion, may be best seen in the works of Boucher... His landscape, of which he was evidently fond, is pastoral; and such pastorality! the pastoral of the Opera house.
 * Notes of Six Lectures on Landscape Painting (1836), C.R. Leslie, Memoirs of the Life of John Constable (1843), p. 343

 * Many of my Hamptstead friends may remember this 'young lady' [an ash tree] at the entrance to the village. Her fate was distressing, for it is scarcely too much to say that she died of a broken heart. I made this drawing [Study of Trees, pencil on paper, circa 1821] when she was in full health and beauty; on passing some times afterwards, I saw, to my grief, that a wretched board had been nailed to her side, on which was written in large letters: 'All vagrants and beggars will be dealt with according to law.' The tree seemed to have felt the disgrace, for even then some of the top branches had withered. Two long spike nails had been driven far into her side. In another year one half became paralysed, and not long after the other shared the same fate, and this beautiful creature was cut down to a stump, just high enough to hold the board.
 * Quote from Constable's Lecture, given at Hamptstead (July 1836), as quoted in Leslie Parris and Ian Fleming-Williams, Constable, Tate Gallery Publications, London 1993, p. 391

posthumous / undated

 * There is nothing ugly; I never saw an ugly thing in my life: for let the form of an object be what it may, — light, shade, and perspective will always make it beautiful.
 * Quoted in C.R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters (1843), (Phaidon, London, 1951), p. 280
 * Reply "to a lady who, looking at an engraving of a house, called it an ugly thing"

 * A self-taught painter is one taught by a very ignorant person.
 * Quoted in The Quarterly Review vol. 119 (1866), p. 292.

 * Because he attempted to tell [in his painting 'The Jewish Cemetery' painted by Ruisdael,] that which is outside the reach of art... .there are ruins to indicate old age, a stream to signify the course of life, and rocks and precipices to shadow forth its dangers. But how are we to discover all this?
 * Quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 304

 * The world is wide; no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of the world.
 * Quoted in C.R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters (1843) (Phaidon, London, 1951) p. 273

 * Only think that I am now writing in a room full of Claudes... almost of the summit of my earthly ambitions.
 * As quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 512

 * It is much to my advantage that several of my pictures should be seen together, as it displays to advantage their varieties of conception and also of execution, and what they gain by the mellowing hand of time which should never be forced or anticipated. Thus my pictures when first coming forth have a comparative harshness which at the time acts to my disadvantage.
 * Quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 516

Quotes about John Constable

 * sorted chronologically, by date of the quotes about John Constable

before 1900

 * Constable, an admirable man, is one of England's glories. I have already told you about him and about the impression he had made on me when I was making 'The massacre at Chios'. He and Turner were real reformers. They broke out of the rut of traditional landscape painting. Our School [French Romanticism ], which today abounds in men of talent in this field, profited greatly by their example. Géricault [the first leader of French Romanticism, followed by Delacroix after his early death] came back in a daze from seeing one of the great landscapes Constable sent us.
 * Quote of Eugène Delacroix in his letter to Théophile Silvestre, Paris, 31 December 1858; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 352

 * Where is my great-coat? I am going to see Mr. Constable's pictures. [because of the feeling of frost he got from Constable's paintings]
 * Quote of Henry Fuseli; as cited by Rev. Henry Scott Trimmer, c. 1860; recorded in The life of J.M.W. Turner, Volume II, George Walter Thornbury; Hurst and Blackett Publishers, London, 1862, p. 79
 * Rev. Henry Scott Trimmer added: 'As I have heard Constable say: 'Do away with this crispness [in his painting-surface], and all the merit of my painting is destroyed'. (Henry Fuseli was an early art-teacher of Constable.)

 * Constable himself knew the value of such studies, for he rarely parted with them. He used to say of his studies and pictures that he had no objection to part with the corn, but not with the field that grew it.
 * Quote by Richard and Samuel Redgrave, A Century of Painters of the English School (1866), vol. II

Quotes of Rev. Henry Scott Trimmer, 1861

 * Quotes of: Rev. Henry Scott Trimmer 1861; as cited in 'The life of J.M.W. Turner', Volume II, [[w:George Walter Thornbury|George Walter Thornbury];] Hurst and Blackett Publishers, London, 1862, pp. 78 - 81

 * I knew Constable's paintings long before I knew Constable, and formed a very wrong estimate of his character. His paintings give one the idea of a positive, conceited person, whereas anyone more diffident of his own powers could not be. Once, not long before his death, when I was with him on Heston steeple, he scratched on the leads those well-known lines of John Milton where he describes Fame as the last infirmity of noble minds, and introduces the Fury with her abhorred shears. Constable could not have described his own character better.
 * p. 78

 * It was one of the dicta of that time [1820-30's], that in proportion as you individualized, you lost in general effect [in a painting]. Constable's great aim was breadth, tone, and moral sentiment. I suppose he meant by moral sentiment that a good picture is calculated to produce a humanizing effect. It is probable that to these ideas he sacrificed detail and correct drawing.
 * p. 79

 * It was Constable's persuasion that you should always work in one material: if a water-colour painter, that you should take Nature in water-colour; if an oil-painter, in oil. Not that he rigidly carried out his own views, as he always had a small sketchbook with him in which he noted down anything that struck him; but his sketching, both in water-colour and pencil, was very inferior to his oils.
 * p. 79

 * When a young man in Essex, he [Constable] did a number of oil sketches [on paper, painted in open air ], which have much of the fine feeling of Thomas Gainsborough, of whom he was an enthusiastic admirer, and at that time [before 1800] an imitator. Later he aimed exclusively at originality. There were a great number of oil sketches sold at his sale, done on the principle that there is no outline in nature. They are full of truth and genius, and possess more variety than his pictures. That such productions did not find admirers was not the fault of the artist; but they required to be seen not simply by the eye, but by the mind.
 * pp. 79-80

 * He considered spring and midsummer as the stirring times for the landscape painter, and not autumn. In his opinion an old tree, half decayed and almost leafless, presented no fitter subject to the painter than an emaciated old man.. .Constable was the first, I believe, in this country who ceased to paint grass yellow ocher, although it appears to me that we are now [1850-60's] in the other extreme. For by the non-employment of yellow, green pictures show a want of sunlight, and allowance is not made for the yellow of the frame, especially at the edge of the picture; still Constable is entitled to great praise for having brought the art back to a truer standard. Green is the colour for trees, and the midsummer shoot gives the green in its greatest variety.
 * pp. 80-81

 * His great object was to obtain the glitter and sparkle of nature after a shower; and for this purpose, passing by the oak and elm, our two first trees, he took the white poplar and the ash - the one for the leaf, the other for the bark. This I had from himself, and it is a key to his pictures. A French paysagiste [landscape-painter] once came from Paris to request him to show him his method of painting. Constable said he should have been most happy to meet his wishes, but that unfortunately he had no method, and got his pictures up he did not know how. This I had from Mr. Field, who was present.
 * p. 81

 * Constable's great aim was to give freshness and motion. I have seen him lying at the foot of a tree watching the motion of the leaves, and pointing out its beauty. He would also stand gazing at the bottom of a ditch, and declare he could see the finest subjects for painting.
 * p. 81

 * A French paysagiste [landscape-painter] once came from Paris to request him to show him his method of painting. Constable said he should have been most happy to meet his wishes, but that unfortunately he had no method, and got his pictures up he did not know how. This I had from Mr. Field, who was present. Yet certainly a method he had, and very unlike other people, which was to dead colour in white and black, or vermilion and Prussian blue. He used the spatula freely, and the vehicle [medium] he employed enabled him to plaster [on the surface].
 * p. 82

 * He had his colours from Field, who was celebrated for his madders, which he used freely, as well as ultramarine. The madder and blue form a purple, and his clouds are purple instead of grey; but time may improve them in this respect. In his early pictures, where I consider he is true to nature as regards colour, he employed vermilion and light red.
 * p. 82

 * When at work he was life and soul in his subject, and the last time I saw him he told me he once put on his great-coat, and sallied forth in a snow-storm to Hampstead Heath to sketch an ash for some picture he was about. [possibly https://upload.wikimedia.org/wikipedia/commons/0/06/London_from_Hampstead_Heath_in_a_Storm_by_John_Constable_1831.jpg 'London from Hampstead Heath in a Storm'], 1831
 * p. 82

 * He was acquainted with Archdeacon Fisher, and painted for him 'Salisbury Cathedral', and several views in that neighbourhood. I have stood on the exact spot from which he took the cathedral, which is very like, though not sufficiently confined for his style of painting. 'Old Sarum', too, is among his most interesting productions.
 * p. 82

 * As I write, June 10th, 1861, John Constable stands next to Gainsborough as a painter of English landscape. Whoever passes him will paint well indeed.
 * p. 84

after 1900

 * Without any doubt the great works of Constable were done at the point when his desire to be a "natural" painter and his need to express his restless, passionate character overlap. Through his violence of feeling, concealed under a conventional exterior, he was able to revolutionise our own feelings about our surroundings. The conviction that open spaces and areas of rural scenery must be saved for the refreshment of our spirits owes more to Constable than to any other artist. While Turner, with greater gifts, was transforming the "beauty spots" of Europe, Constable was teaching us all to realise that our own countryside could be taken exactly as it is, and and yet become more precious to us.
 * Quote by Kenneth Clark, The Romantic Rebellion (Harper & Row, 1973, ISBN 0-06-010802-9, ch. 11: Constable (p. 283))

 * John Constable, in his lecture at the 'Hampstead Assembly Rooms' in June 1833, attempted to give an account of the origins of landscape painting, going back to the Italian painters Cimabue (c. 1240-1302) and Giotto (c. 1266-1 337). Constable inferred that early paintings of biblical scenes of the crucifixion, with a stormy or clearing sky behind the cross, probably represent the origins of the sky in landscape painting.
 * Quote by John E. Thornes, in: 'A brief history of weather in European landscape art', Weather, Volume 55, Issue 10, Version of Record online: 30 APR 2012 pdf p. 363

 * Turner was much more interested in the interplay between the atmosphere and sunlight and how he could use this to heighten the effects of his landscapes and seascapes. Constable rarely painted the atmosphere at all but concentrated on the clouds and the sky. The visibility in Constable's landscapes is nearly always very good, such that the horizon can be clearly seen; he rarely painted mist or fog. Turner on the other hand delighted in mist and fog which often blot out the horizon and sky in his paintings.
 * Quote by John E. Thornes, in 'A brief history of weather in European landscape art', in Weather Volume 55, Issue 10 Oct. 2000, p. 368

title: John Constable


text:
User:Kalathalan

 Please see my English Wikipedia user page.

title: User:Kalathalan


text:
William Hogarth

William Hogarth (10 November 1697 –26 October 1764) was a major English painter, printmaker, pictorial satirist, and editorial cartoonist who has been credited as a pioneer in western sequential art. His work ranged from excellent realistic portraiture to comic strip-like series of pictures called "modern moral subjects." Much of his work, though at times vicious, poked fun at contemporary politics and customs.

Quotes

 * There is another Set of Gentry more noxious to the art than these, and those are your Picture-Jobbers from abroad, who are always ready to raise a great Cry in the Prints, whenever they think their Craft is in Danger; and indeed it is in their Interest to depreciate every English Work, as hurtful to their Trade, of continually importing Ship Loads of dead Christs, Holy Families, Madona's, and other dismal, dark Subjects, neither entertaining nor ornamental; on which they scrawl the terrible cramp Names of some Italian Masters, and fix on us poor Englishmen the Character of Universal Dupes.
 * Article in the St. James's Evening Post (7 June 1737), quoted in The London Magazine; Or, Gentleman's Monthly Intelligencer, Volume VI (July 1737), p. 385

 * After the March to Finchley, the next print I engraved, was the Roast Reef of old England; which took its rise from a visit I paid to France the preceding year. The first time an Englishman goes from Dover to Calais, he must be struck with the different face of things at so little a distance. A farcical pomp of war, pompous parade of religion, and much bustle with very little business. To sum up all, poverty, slavery, and innate insolence, covered with an affectation of politeness, give you even here a true picture of the manners of the whole nation... By the fat friar, who stops the lean cook that is sinking under the weight of a vast sirloin of beef, and two of the military bearing off a great kettle of soup maigre, I meant to display to my own countrymen the striking difference between the food, priests, soldiers, &c. of two nations so contiguous, that in a clear day one coast may be seen from the other.
 * John Ireland, Hogarth Illustrated, Volume III (3rd edn., 1812), pp. 340-341

 * [T]he connoisseurs and I are at war you know; and because I hate them, they think I hate Titian—and let them!
 * Remark to Hester Thrale, quoted in Hester Thrale, Anecdotes of the Late Samuel Johnson [1786] (1822), p. 109

The Analysis of Beauty (1753)

 * Any two opposite colours of the rainbow (eg yellow and blue), form a third between them, thus imparting to each other their peculiar qualities . The sight of what they were originally is quite lost, and instead, a most pleasing green is found, which colour, nature has chosen for the vestment of the earth, and with the beauty of which the eye never tires.
 * Experience teaches us that the eye may be subdued and forced into forming and disposing of objects even quite contrary to what it would naturally see them, by pre judgement of the mind or some other persuasive motive.
 * A great many people seem to delight most in what they least understand.
 * On why our features sag, It is by the natural and unaffected movements of the muscles, caused by the passions of the mind, that every man's character would in some measure be written in his face, by the time he arrives at forty years of age.

Quotes about William Hogarth

 * In pictures of comic character, rich humour, and moral satire, and particularly in displaying the human figure and countenance in its common and popular forms, he certainly excelled all other painters... Hogarth was certainly an artist of peculiar and distinguished talents. He stood alone in art, and formed a school of his own. He was at once the Pictorial Satirist, Moralist, and Historian of the age in which he lived. I use the latter term, from the conviction that his pictures will always be referred to with pleasure and advantage, as recording the features, costume, and corporeal characteristics of many eminent and illustrious persons, and of many public and private events of his time.
 * John Britton, quoted in Anecdotes of William Hogarth: Written by Himself (1833), pp. 86-87

 * He pleaded the cause of virtue—it was vice that he painted in disgusting colours; and though the judicious spectator may occasionally discover grossness in the production of this great Artist, yet they were such as scenes from nature produced, and such as the great Moralist always contrasted, by displaying virtue at the same time in the loveliest attire, and giving her the most attractive expression.
 * James Christie, quoted in Anecdotes of William Hogarth: Written by Himself (1833), p. 81

 * William Hogarth was rather below the middle size; his eye was peculiarly bright and piercing; his look shrewd, sarcastic, and intelligent; the forehead high and round. He was active in person, bustling in manner, and fond of affecting a little state and importance: of a temper cheerful, joyous, and companionable; fond of mirth and good fellowship; desirous of saying strong and pointed things;—ardent in friendship—and in resentment. His lively conversation—his knowledge of character—his readiness of speech—and quickness of retort, made many covet his company, who were sometimes the objects of his satire; but he employed his wit on those who were present, and spared or defended the absent. His personal spirit was equal to his satiric talents; he provoked, with his pencil, the temper of those whom it was not prudent to offend; with him no vice nor folly found shelter behind wealth, or rank, or power.
 * Allan Cunningham, quoted in Anecdotes of William Hogarth: Written by Himself (1833), p. 87

 * [H]is character as an artist is to be gathered from numerous works, at once original and unrivalled. His fame has flown far and wide; his skill as an engraver spread his reputation as a painter; and all who love the dramatic representation of actual life—all who have hearts to be gladdened by humour—all who are pleased with judicious and well-directed satire—all who are charmed with the ludicrous looks of popular folly—and all who can be moved with the pathos of human suffering—are admirers of Hogarth. That his works are unlike those of other men, is his merit, not his fault. He belonged to no school of art; he was the produce of no academy; no man living or dead had any share in forming his mind, or in rendering his hand skilful. He was the spontaneous offspring of the graphic spirit of his country, as native to the heart of England as independence is, and he may be fairly called, in his own walk, the first-born of her spirit.
 * Allan Cunningham, quoted in Anecdotes of William Hogarth: Written by Himself (1833), p. 88

 * The ingenious Mr Hogarth [is one of the most] useful Satyrists that any Age hath produced.
 * Henry Fielding in The Champion (1740), quoted in V. De S. Pinto, 'William Hogarth', in Boris Ford (ed.), A Guide to English Literature, Volume 4 (1957), p. 289

 * These derisive prints give only a distorted idea of a world which to Hogarth was always strange and uncongenial: that of the patron supporting an obedient circle and in addition favouring the foreigner to the detriment of a home-grown art.
 * William Gaunt, The World of William Hogarth (1978), p. 18

 * They said he could not paint flesh. There's flesh and blood for you.
 * Attributed to his widow, Jane Hogarth, when showing the painting The Shrimp Girl'' to visitors

 * The Temple of Nature was his academy,—and his topography the map of the human mind.
 * John Ireland, Hogarth Illustrated, Volume I (1791), p. cxvi

 * His engravings, though coarse, are forcible, in a degree scarcely to be paralleled. Every figure is drawn from the quarry of nature; and, though seldom polished, is always animated.
 * John Ireland, Hogarth Illustrated, Volume I (1791), p. cxvii

 * [T]he matchless Election Entertainment... [i]n that inimitable print (which in my judgment as far exceeds the more known and celebrated March to Finchley as the best comedy exceeds the best farce that ever was written) let a person look till he be saturated... when he shall have sufficiently admired this wealth of genius, let him fairly say what is the result left on his mind. Is it an impression of the vileness and worthlessness of his species? or is it not the general feeling which remains, after the individual faces have ceased to act sensibly upon his mind, a kindly one in favour of his species? was not the general air of the scene wholesome? did it do the heart hurt to be among it? Something of a riotous spirit, to be sure, is there, some worldly-mindedness in some of the faces, a Dodingtonian smoothness which does not promise any superfluous degree of sincerity in the fine gentleman who has been the occasion of calling so much good company together: but is not the general cast of expression in the faces, of the good sort? do they not seem cut out of the good old rock, substantial English honesty?
 * Charles Lamb, quoted in Anecdotes of William Hogarth: Written by Himself (1833), pp. 113-115

 * Hogarth adopted a new line of art, purely English; his merits are known to the public, more from his prints than from his paintings: both deserve our attention. His pictures often display beautiful colouring, as well as accurate drawing: his subjects generally convey useful lessons of morality, and are calculated to improve the man, as well as the artist: and he teaches with effect, because he delights while he instructs. It has been said of him, that in his pictures he composed comedies; his humour never fails to excite mirth, and it is directed against the fit objects of ridicule or contempt. The powers of his pencil were not perverted to the purposes of personal attack; the application of his satire was general, and the end at which he aimed was the reformation of folly or of vice.
 * Richard Payne Knight, quoted in Anecdotes of William Hogarth: Written by Himself (1833), pp. 85-86

 * It cannot, indeed, be truly said of Hogarth, that he improved the practice of the arts of Painting and Engraving, which he professed; but he merited the praise of having more powerfully exhibited their moral utility than any of his predecessors.
 * Thomas Phillips, quoted in Anecdotes of William Hogarth: Written by Himself (1833), p. 81

 * Hogarth resembles Butler, but his subjects are more universal, and amidst all his pleasantry, he observes the true end of comedy, reformation; there is always a moral to his pictures. Sometimes he rose to tragedy, not in the catastrophe of kings and heroes, but in marking how vice conducts insensibly and incidentally to misery and shame. He warns against encouraging cruelty and idleness in young minds, and discerns how the different vices of the great and the vulgar lead by various paths to the same unhappiness.
 * Horace Walpole, Anecdotes of Painting in England; With Some Account of the Principal Artists, Vol. III (1876), p. 2

 * It is to Hogarth's honour that in so many scenes of satire or ridicule, it is obvious that ill-nature did not guide his pencil. His end is always reformation, and his reproofs general.
 * Horace Walpole, Anecdotes of Painting in England; With Some Account of the Principal Artists, Vol. III (1876), p. 3

 * In only one branch of painting, and that not the most honoured even in our own country, did we produce a unique, idiosyncratic national school. That is the school of narrative composition founded by Hogarth and perfected a hundred years later. It would be absurd to claim a place for him beside Titian and Velasquez, even beside Goya. He was in no sense a great painter, but he is a national figure comparable to Dr Johnson or Trollope, of whom we may well be proud... The school which Hogarth founded may be defined as the detailed representation of contemporary groups, posed to tell a story and inculcate a moral precept. The figures are not merely caught and preserved in certain attitudes; previous and subsequent events are implicit in the scene portrayed. Hogarth's moral lessons are commonplace, commonsensical: that extravagance leads to destitution, debauchery to madness, crime to the gallows, loveless marriage to infidelity and so on. It remained for the more delicate sentiment of the Victorians to refine on these maxims.
 * Evelyn Waugh, 'The Forerunner', Time and Tide (9 July 1955), quoted in The Essays, Articles and Reviews of Evelyn Waugh, ed. Donat Gallagher (1983), p. 502

 * He was pure Cockney, intolerant of everything foreign. English painting, so far as it has excelled at all, has done so in inverse relation to the influence of Italy and France. I do not know of any foreign painter except Svoboda who rivalled the English School in their own métier. Comparable Parisians of the nineteenth century tended towards the lubricious or the allegorical. There is one corner of the artistic field that will remain for ever England.
 * Evelyn Waugh, 'The Forerunner', Time and Tide (9 July 1955), quoted in The Essays, Articles and Reviews of Evelyn Waugh, ed. Donat Gallagher (1983), p. 503

title: William Hogarth


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