Category Archives: Quotes

As every second post on this site is a quote. You’ll find a deep and broad variety of quotes under this category, which overlap with several other tags and categories. Many of the quotes are larded with links for deeper reading on the subject of the quote, or connections between the subject of the quotes and other people, things, or ideas. See the Taxonomies page for more about this category.

Diego Rivera

“Diego Rivera: (1886-1957) Mexican muralist. After study in Mexico City and Spain, he settled in Paris from 1909 to 1919. He briefly espoused Cubism but abandoned it c.1917 for a visual language of simplified forms and bold areas of color. Returning to Mexico in 1921, he sought to create a new national art on revolutionary themes in the wake of the Mexican Revolution. He painted many public murals, the most ambitious of which is in the National Palace (1929-57). His mural for New York’s Rockefeller Center aroused a storm of controversy and was ultimately destroyed because it contained the figure of Vladimir Lenin; he later reproduced it at the Palace of Fine Arts in Mexico City. With Jose Clemente Orozco and David Alfaro Siqueiros, he created a revival of fresco painting that became Mexico’s most significant contribution to 20th-century art. His large scale, didactic murals contain scenes of Mexican history, culture, and industry with Indians, peasants, conquistadores, and factory workers drawn as simplified figures in crowded, shallow places. Rivera was married to Frida Kahlo almost uninterruptedly from 1929 to 1954.”

Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Ferdie Pacheco on the Ali/Spinks Fight

“They’re selling video cassettes of the Ali-Spinks fight for $89.95. Hell, for that money, Spinks will come to your house.”

Ferdie Pacheco

Excerpted from: Sherrin, Ned, ed. The Oxford Dictionary of Humorous Quotations. New York: Oxford University Press. 1996.

Mateo Aleman

“Mateo Aleman: (1547-after 1613) Spanish novelist. The son of a prison doctor, Aleman studied in Seville, Salamanca, and Alcala, and spent some twenty years as a government accountant. He was twice imprisoned for debt. In 1608 he went to Mexico in the company of Archbishop Garcia Guerra, whose life he published in 1613.

Aleman is remembered chiefly as the author of Guzman de Alfarache, the second great picaresque novel, after Lazarillo de Tormes (1554). The first part appeared in 1599, and, after Juan Jose Marti, a Valencian lawyer, produced a spurious sequel (1602), Aleman himself wrote a continuation (1604), in which he good-naturedly lampooned Marti. Aleman also wrote a biography of Saint Anthony of Padua (1604) and Ortografia castellana (1609), a treatise on spelling.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Frida Kahlo

“Frida (Magdalena Carmen) Kahlo (y Calderon de Rivera): (1907-1954) Mexican painter. The daughter of a German-Jewish photographer, she had polio as a child and at 18 suffered a serious bus accident. She subsequently underwent some 35 operations; during her recovery, she taught herself to paint. Her marriage to Diego Rivera (from 1929) was tumultuous but artistically rewarding. She is noted for her intense, bizarre, brightly colored self-portraits, many reflecting her physical ordeal, which incorporate primitivistic elements but are executed with a fine technique. The Surrealists Andre Breton and Marcel Duchamp helped arrange exhibits of her work in the U.S. and Europe, and though she denied the connection, she is often identified as a Surrealist. She died at 47. Her house in Coyoacan is now the Frida Kahlo Museum.”

Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Muntin

“Muntin: Sash bar in a panel door. Sometimes incorrectly used for mullion.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Dangler

“Dangler (noun): A misplaced modifier or dependent segment of a sentence that often suggests an unintended or jarringly humorous meaning because of its isolation from what it properly refers to, e.g., ‘Sprinting ahead, the cave was soon only yards away’; phrase or clause separated from its antecedent; unattached modifier or participle. Also DANGLING MODIFIER

‘Strictly speaking, as Jesperson notes, strictly speaking is always a loose participle—perhaps if Newman had known anything at all about grammar he would avoided that ‘dangler’ for the title of his first book.’ Jim Quinn, American Tongue and Cheek”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Oxford Dictionary of Word Origins: Aborigine

“aborigine [M19th] This is a shortening of the 16th-century plural aborigines ‘original inhabitants,’ which in classical times referred to the early people of Italy and Greece. The word comes from the Latin phrase ab origine ‘from the beginning.’ Now both Aborigines and Aboriginals are standard plural forms when referring to Australian Aboriginal people, a specialized use that dates from the 1820s.”

Excerpted from: Creswell, Julia. Oxford Dictionary of Word Origins. New York: Oxford University Press, 2010.

Multiples

“Multiples: Works of art theoretically made in unlimited numbers—in contrast with works made in traditional editions—which are slightly altered in style from their originals. Multiples by Alexander Calder, Claes Oldenburg, and others were introduced in the 1960s, when they were promoted by private art galleries.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Capital

“Capital: 1. Man-made material resource used or available for use in production, for example machinery. This is also referred to as physical capital. See also HUMAN CAPITAL. 2. Material or financial wealth, accumulated by an individual or a company, that can be used to generate income. See also HUMAN CAPITAL.”

Excerpted from: Black, John, Nigar Hashimzade, and Gareth Miles. Oxford Dictionary of Economics. New York: Oxford University Press, 2012.

The Doubter’s Companion: Biography

“Biography: Respectable pornography, thanks to which the reader can become a peeping tom on the life of a famous person.

Biography has increasingly replaced the novel as the most popular form of serious reading. While in the eighteenth and nineteenth centuries the novel provided the reader with a reflection of him or herself, today the biography encourages the gratuitous pleasures and self-delusion of voyeurism.”

Excerpted from: Saul, John Ralston. The Doubter’s Companion. New York: The Free Press, 1994.