Venus De Milo Quotes

The prevalence of social ugliness made commitment to physical beauty all the more essential. And the very presence in life of double-wide mobile homes, Magic Marker graffiti, and orange shag carpeting had the effect of making ills such as poverty, crime, repression, pollution and child abuse seem tolerable. In a sense, beauty was the ultimate protest, and, in that it generally lasted longer than an orgasm, the ultimate refuge. The Venus de Milo screamed "No!" at evil, whereas the Spandex stretch pant, the macrame plant holder were compliant with it.

Beauty! Wasn't that what mattered? Beauty was hardly a popular ideal at that jumpy moment in history. The masses had been desensitized to it, the intelligentsia regarded it with suspicion. To most of her peers, 'beauty' smacked of the rarefied, the indulgent, the superfluous, the effete. How could persons of good conscience pursue the beautiful when there was so much suffering and injustice in the world? Ellen Cherry's answer was that if one didn't cultivate beauty, soon he or she wouldn't be able to recognize ugliness. The prevalence of social ugliness made commitment to physical beauty all the more essential. And the very presence in life of double-wide mobile homes, Magic Marker graffiti, and orange shag carpeting had the effect of making ills such as poverty, crime, repression, pollution, and child abuse seem tolerable. In a sense, beauty was the ultimate protest, and, in that it generally lasted longer than an orgasm, the ultimate refuge. The Venus de Milo screamed 'No!' at evil, whereas the Spandex stretch pant, the macrame plant holder were compliant with it. Ugly bedrooms bred ugly habits. Of course, it wasn't required of beauty that it perform a social function. That was what was valuable about it.

The preliminaries were out of the way, the creative process was about to begin. The creative process, that mystic life force, that splurge out of which has come the Venus de Milo, the Mona Lisa, the Fantasie Impromptu, the Bayeux tapestries, Romeo and Juliet, the windows of Chartres Cathedral, Paradise Lost - and a pulp murder story by Dan Moody. The process is the same in all; if the results are a little uneven, that doesn't invalidate the basic similarity of origin.

I spent all day wandering up and down the hallways, staring at the Mona Lisa and Canova’s 'Psyche and Cupid' and the 'Venus de Milo' and Caravaggio’s 'The Death of the Virgin' and hundreds of other works in all shapes and sizes and colors. Just before I was about to leave, I was staring at Michelangelo’s 'The Dying Slave', and I suddenly realized that every single work I had seen expressed the same thing, the same intense longing for beauty and immortality and justice and compassion. It was as though all of these artists from throughout history were there in those long hallways crying out the same anguished plea in a thousand different languages.

There would be miracles at the fair—the chocolate Venus de Milo would not melt, the 22,000-pound cheese in the Wisconsin Pavilion would not mold—

[Talking pictures are] like putting lip rouge on the Venus de Milo.

The old man opened the door with all the ease of the Venus de Milo cracking a safe.

Thus already pre-loaded, as it were, with verbal scrambled eggs, and, not incidentally, well primed to be a coiner of neologisms later in life, I entered my adolescent years. We were not taught languages properly then. There were no language labs—it was all written work—and we had no access to the vocabularies of swearing or sex. Think how much more interesting French would have been with a few choice Madame Bovary excerpts, or Latin with a sampling of the more outrageous epigrams of Martial! But it was not to be. Caesar droned on about himself in the third person, conquering this, overthrowing that, while we drew arms on the Venus de Milo in the textbook; and in French class, the pen of my aunt rested inexorably on the desk, in the past, the past perfect, and the future perfect.

A character is no more a human being than the Venus de Milo is a real woman. A character is a work of art, a metaphor for human nature. We relate to characters as if they were real, but they're superior to reality. Their aspects are designed to be clear and knowable; whereas our fellow humans are difficult to understand, if not enigmatic. We know characters better than we know our friends because a character is eternal and unchanging, while people shift - just when we think we understand them, we don't.

I couldn’t even distract myself with a wank over that gorgeous slag Venus de Milo; well, she’s asking for it, going out all nude, not even wearing any arms.

Throughout my life I felt I was lacking something, the way the Venus de Milo lacks arms. I lacked nothing in my outer appearance but something inside me, as if the arms of my soul were lacking, and that absence, that lack, that feeling of emptiness, made me helpless.

On the subject of pornography, Lord MacCaulay believes that term only suitable for material lacking artistic merit, being designed solely for the purpose of sexual arousal. His own collection of books, sketches and cards (some more dog-eared than others) he deems akin to the Venus de Milo, rising above the common fodder of aids to ‘relief’.

Por belleza, designaría yo lo que parece completo. Lo incompleto o lo mutilado es totalmente feo. A la Venus de Milo, un niño la encontraría fea. Si un espíritu puro la imagina completa, se convertiría en bella. Una mano concebida como mano puede parecer bella. Abandonada en un campo de batalla, deja de serlo. Pero todo lo que nos rodea es parte de una cosa que a su vez es parte de otra: en este mundo no hay nada bello; sólo las apariencias son intermedias entre la belleza y la fealdad. Sólo es completa la universalidad, sólo es bello el completo.

Some other Coffee, should be welcome, Venus de Milo.

At the Louvre she immediately recognized the Venus de Milo, even though they happened to approach from the rear, and of course the Mona Lisa was unmistakable; it looked exactly like the reproductions.

the Mossad agent whom Dudley had described as, ‘An absolutely deadly young lady, around five-six, clear skin, the figure’s copied from the Venus de Milo, only this one’s got both arms, and the head’s different.’ ‘How different?’ Bond had asked. ‘Stunning. Late twenties, I’d say. Very, very good. I’d hate to be up against her . . .’ ‘In the professional sense, of course.’ Bond could not resist the quip.

most 3D printer artists use the tech to create their visions to perfection. You just take existing things and mess with them. It’s like if the Venus de Milo's arms weren’t lopped off, just misprinted. That’s not art. That’s a hack, nothing more.

Among other elements, the test had a vestigial examination in drawing, and Mandelbrot discovered a latent facility for copying the Venus de Milo. On the mathematical sections of the test—exercises in formal algebra and integrated analysis—he managed to hide his lack of training with the help of his geometrical intuition. He had realized that, given an analytic problem, he could almost always think of it in terms of some shape in his mind. Given a shape, he could find ways of transforming it, altering its symmetries, making it more harmonious. Often his transformations led directly to a solution of the analogous problem. In physics and chemistry, where he could not apply geometry, he got poor grades. But in mathematics, questions he could never have answered using proper techniques melted away in the face of his manipulations of shapes.

When I’m finished painting his abdomen with clay, I lick him from his balls, all the way to his tip, and then purr, “Now you’re a real-life version of the David.” “And you’re my Venus de Milo,” he replies, not missing a beat. He adds, “With arms, of course.” To emphasize that last point, he smears clay down my left arm, and then my right. He grabs more clay, takes my face in his palms, and kisses me. After that, he pulls me to standing along with him and smears even more wet clay across my belly and ass. He bends down and devours my breasts and nipples for a bit, making me shudder and moan softly, before smearing those areas with wet clay, as well. “You’re a work of art, Laila,” he whispers, his dark eyes blazing and his tone passionate.

that if one is intent on colorizing a film like Casablanca one may as well add arms to the Venus de Milo.