Renaissance Quotes

Quotes tagged as "renaissance" Showing 1-30 of 92
Thomas More
“[how can anyone] be silly enough to think himself better than other people, because his clothes are made of finer woolen thread than theirs. After all, those fine clothes were once worn by a sheep, and they never turned it into anything better than a sheep.”
Thomas More, Utopia

“While I thought that I was learning how to live, I have been learning how to die.
-Leonardo Da Vinci”
Oliver Bowden, Assassin's Creed: Renaissance

James K. Morrow
“The next time somebody announces that he plans to get Medieval on your ass, tell him you're going to get Renaissance on his gonads.”
James Morrow, The Last Witchfinder

Marsilio Ficino
“The soul exists partly in eternity and partly in time.”
Marsilio Ficino

James Baldwin
“Whose little boy are you?”
James Baldwin, The Fire Next Time

Marsilio Ficino
“Why do we think love is a magician? Because the whole power of magic consists in love. The work of magic is the attraction of one thing by another because of a certain affinity of nature.”
Marsilio Ficino

Stephen Greenblatt
“Art always penetrates the particular fissures in one's psychic life.”
Stephen Greenblatt, The Swerve: How the World Became Modern

“Man is mortal. This is his fate. Man pretends not to be mortal. That is his sin. Man is a creature of time and place, whose perspectives and insights are invariably conditioned by his immediate circumstances.”
Sylvan Barnet

Stephen Greenblatt
“There was a time in the ancient world - a very long time - in which the central cultural problem must have seemed an inexhaustible outpouring of books. Where to put them all? How to organize them on the groaning shelves? How to hold the profusion of knowledge in one's head? The loss of this plenitude would have been virtually inconceivable to anyone living in its midst.
Then, not all at once but with the cumulative force of a mass extinction, the whole enterprise came to an end. What looked stable turned out to be fragile, and what had seemed for all time was only for the time being.”
Stephen Greenblatt, The Swerve: How the World Became Modern

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

Stephen Greenblatt
“A comparably capacious embrace of beauty and pleasure - an embrace that somehow extends to death as well as life, to dissolution as well as creation - characterizes Montaigne's restless reflections on matter in motion, Cervantes's chronicle of his mad knight, Michelangelo's depiction of flayed skin, Leonardo's sketches of whirlpools, Caravaggio's loving attention to the dirty soles of Christ's feet.”
Stephen Greenblatt, The Swerve: How the World Became Modern

Julianne Davidow
“Love is the linchpin that connects the material world with higher levels of existence.”
Julianne Davidow

Stephen Greenblatt
“In short, it became possible - never easy, but possible - in the poet Auden's phrase to find the mortal world enough.”
Stephen Greenblatt, The Swerve: How the World Became Modern

Eric    Weiner
“Just as not all butterflies produce a hurricane, not all outbreaks of bubonic plague produce a Renaissance.”
Eric Weiner, The Geography of Genius: A Search for the World's Most Creative Places from Ancient Athens to Silicon Valley

Frithjof Schuon
“Such was also the case with Nietzsche, a volcanic genius if ever there was one. Here, too, there is passionate exteriorization of an inward fire, but in a manner that is both deviated and demented; we have in mind here, not the Nietzschian philosophy, which taken literally is without interest, but his poetical work, whose most intense expression is in part his ‘Zarathustra’. What this highly uneven book manifests above all is the violent reaction of an a priori profound soul against a mediocre and paralyzing cultural environment; Nietzsche’s fault was to have only a sense of grandeur in the absence of all intellectual discernment. ‘Zarathustra’ is basically the cry of a grandeur trodden underfoot, whence comes the heart-rending authenticity – grandeur precisely – of certain passages; not all of them, to be sure, and above all not those which express a half-Machiavellian, half-Darwinian philosophy, or minor literary cleverness. Be that as it may, Nietzsche’s misfortune, like that of other men of genius, such as Napoleon, was to be born after the Renaissance and not before it; which indicates evidently an aspect of their nature, for there is no such thing as chance.”
Frithjof Schuon, To Have a Center

محمد الشموتي
“إن تكريم العقول الفذة، هو في إتاحة الفرصة لها لخلق أنظمتها المتفردة، لا في حكمها بأنظمة بالية، وملاحقتها بالقوانين الروتينية، واستنزافها في الأعمال غير الخلاقة.
لو شاء أحد أن يتتبع حجم الإهدار للعقول العربية الفذة، لما وسعته الحسرة، ولما وسعه سوى أن ينتحر من الكمد والأسى.
فتجد عالماً في الطاقة الذرية في سوريا يعمل مدرساً للرياضيات في مدرسة متواضعة.
وتجد أفضل عالم رياضيات في العالم بشهادة المؤسسات الغربية، والحائز على جوائز عالمية في مجاله، تفصله جامعة القاهرة بحجة عدم تجديد الإجازة.
وتجد مخترعاً في السعودية يحاول الانتحار لأنه لا يملك قوتاً لأولاده، ثم تظهره القنوات الفضائية كمادة إعلامية شيقة، ويصورونه على الهواء وهم يشترون له حاجيات بيته وأبناءه.

لكي يتحقق الإبداع، وتتحقق النهضة، يجب أن نعمل على تهيئة المناخات الحاضنة للعقول المتفردة، وأن نخفف من عوامل الطرد الفكري، ونكثف جهودنا لوضع سياسات تضمن الحرية، والكرامة، لكل عقل عربي تظهر عليه آثار النبوغ في شتى المجالات، الفكرية والعملية، بدون ذلك، لن يكون لدينا نخبة تقود البلاد لطريق الحضارة.”
محمد الشموتي

“The 'Renaissance' West Butchered the Rest.
If I had to choose between an erudite Aristotle and an unknown ‘soulless’ black slave I would choose the latter. The ascendancy of the West was on a heap of bodies of slaves and trampled humanity through colonization”
Viktor Vijay Kumar, Mona Lisa does not smile anymore

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

“those who have found each other once
will find each other again and yet again”
Dahi Tamara Koch, Within the event horizon: poetry prose

Theodora Goss
MARY: Renaissance, not medieval. Most of the castle was built during the sixteenth century, although I believe its foundations date from the fourteenth.

CATHERINE: And our readers will care why?

MARY: You may not care for accuracy, but I do—and Carmilla will, when she reads this book.

CATHERINE: If I ever get the damn thing written, with all these interruptions!”
Theodora Goss, European Travel for the Monstrous Gentlewoman

Arnold Hauser
“Compare with Greek art, modern classical art is lacking in warmth and immediacy; it has a derived, retrospective, and, even in the Renaissance, a more or less classicistic character. It It is the reflection of a society which, filled with reminiscences of Roman heroism and medieval chivalry, tries to appear to be something which it is not, by following an artificially produced social and moral code, and which stylizes the whole pattern of its life in accordance with this fictitious scheme. Classical art describes this society as it wants to see itself and as it wants to be seen. There is hardly a feature in this art which would not, on closer examination, prove to be anything more than the translation into artistic terms of the aristocratic, conservative ideals cherished by this society striving for permanence and continuity. The whole artistic fromalism of the Cinquecento merely corresponds to the formalized system of moral conceptions and decorum which the upper class of the period imposes on itself. Just as the aristocracy and the aristocratically minded circles of society subject life to the rule of a formal code, in order to preserve it from the anarchy of the emotions, so they also submit the expression of the emotions in art to the censorship of definite, abstract, and impersonal forms.”
Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

Arnold Hauser
“But is is by no means those aspects of Dürer's style which it shares with Italian art that makes it so attractive especially for Pontormo and those who like him, but rather the spiritual depth and inwardness - in other words, the qualities which they miss most in classical Italian art. The antitheses of "Gothic" and "Renaissance", however, which are largely smoothed out in Dürer himself, are still irreconciled and irreconcilable in the outlook of mannerism.”
Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

Haluk Çay
“Nobility passes through by blood, not by law”
Haluk Çay, MARIA ROMANOV: After 17 July 1918

“The history of ideas is not constrained by boundaries of culture, religion or politics and, in order to fully appreciate it, a more far-reaching approach is needed.”
Violet Moller, The Map of Knowledge: How Classical Ideas Were Lost and Found: A History in Seven Cities

“Baudrillard’s positioning of the first stage of simulation during the Renaissance: by reproducing appearances accurately, not only does the perspective window initiate the indefinite manipulation of the environment, but also the predominance of vision in the West. Now understood as a geometrical calculus of distances and proportions, space is born, a theatrical ambience where life unfolds according, and thanks to, the distance separating the viewer from the stage. ... On the other hand, no understanding of reality is possible in the absence of a gap distancing the subject from a world within which s/he used to feel completely merged and subjugated (Descartes, [1637] 2006); just as no understanding of the self is to the same extent possible in the absence of a gap distancing the subject from its own image in the looking glass (Lacan, [1936] 2006). An effect of representation, the perception of reality and individuality both owe to the perspective window their initiation and realization.”
Francesco Proto, Baudrillard for Architects

“Man muss durch Feuer gehen, um wiedergeboren zu werden.”
Dahi Tamara Koch, Wanderherzen

“When classical architecture was revived during the Renaissance, every educated person knew that it symbolised admiration for the achievements of the ancient world. Architecture had become a metaphor for civilisation.”
Tom Turner, City as Landscape: A Post Post-Modern View of Design and Planning

Richard Tarnas
“When God had completed the creation of the world as a sacred temple of his glory and wisdom, he conceived a desire for one last being whose relation to the whole and to the divine Author would be different from that of every other creature. At this ultimate moment God considered the creation of the human being, who he hoped would come to know and love the beauty, intelligence, and grandeur of the divine work...”
Richard Tarnas, Cosmos and Psyche: Intimations of a New World View

“Going deeper to gain expertise doesn’t mean giving up on things you’re interested in; it means having more of what you love the most.”
Chris Do, Pocket Full of Do

Ilja Leonard Pfeijffer
“Je zou de geschiedenis van Europa kunnen beschrijven als een geschiedenis van terugverlangen naar de geschiedenis.”
Ilja Leonard Pfeijffer, Grand Hotel Europa

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