The Man in the Red Coat Quotes

“Every portrait that is painted with feeling is a portrait of the artist, not the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on coloured canvas, reveals himself.”
― Julian Barnes, The Man in the Red Coat

“It is a moment when a shift in the nature of literary fame occurs. Previously, a famous writer was a writer who became famous by writing. Wilde pioneered the idea of becoming famous first, and then getting down to the writing. By the end of 1882 he was “still” only a minor poet and diligent lecturer. But he was also famous on two continents and therefore primed for a literary career.”
― Julian Barnes, The Man in the Red Coat

“El arte siempre tiene al tiempo de su parte”
― Julian Barnes, The Man in the Red Coat

“Frenchly, they set off with 1,300 litres of claret, fifty bottles of Pernod, and a mechanical piano.”
― Julian Barnes, The Man in the Red Coat

“Wilde also established another prime rule of fame in the modern age: that there is no such thing as bad publicity, there is only publicity. Success is better measured in column inches than by what those columns contain.”
― Julian Barnes, The Man in the Red Coat

“the novel has almost as many forms as there are forms of love and sex.”
― Julian Barnes, The Man in the Red Coat

“Art outlasts individual whim, family pride, society's orthodoxy; art always has time on its side.”
― Julian Barnes, The Man in the Red Coat

“The past is the present's toy and plaything, gratifyingly unable to answer back.”
― Julian Barnes, The Man in the Red Coat

“His grandfather had white peacocks roosting in a catalpa tree.”
― Julian Barnes, The Man in the Red Coat

“The main reason Britons sought exile in France was to escape scandal (and be able to carry on in their scandalous ways): it was the place to go for the upper-class bankrupt, bigamist, cardsharp and homosexual. They sent us their ousted leaders and dangerous revolutionaries; we sent them our posh riff-raff. Another reason for continental exile was expressed by the painter Walter Sickert in a letter from Dieppe in 1900: 'It is bloody healthy here & fucking cheap ("Fucking" used here as an adverb, not a substantive gerund).”
― Julian Barnes, The Man in the Red Coat

“The French had the more pragmatic approach: you married for social position, for money or property, for the perpetuation of family, but not for love. Love rarely survived marriage, and it was a foolish hypocrisy to pretend that it might.”
― Julian Barnes, The Man in the Red Coat

“Мистецтво довговічніше за особисті примхи, родинну гордість і суспільні догмати; час завжди на боці мистецтва.”
― Джуліан Барнз, The Man in the Red Coat