Many religions have attempted to make statues of their gods very large, and the idea, I suppose, is to make us feel small. But if that's their purpose, they can keep their paltry icons. We need only look up if we wish to feel small.

It is necessary to mark the greater from the lesser truth: namely the larger and more liberal idea of nature from the comparatively narrow and confined; namely that which addresses itself to the imagination from that which is solely addressed to the eye.

It must be remembered that after all in making a picture we are endeavoring to set down on one plane various objects in such a way as to suggest an infinitude of varying planes, and hence we are justified in selecting such conditions of nature as shall help us to give the impression of truthfulness, even though it be not in particular cases absolutely true to fact.

Some things have to be believed to be seen.

The more we want it to be true, the more careful we have to be. No witness's say-so is good enough. People make mistakes. People play practical jokes. People stretch the truth for money or attention or fame. People occasionally misunderstand what they're seeing. People sometimes even see things that aren't there.

I have always said that, with any sculpture, you have to be able to say, 'although this is not a ready-made, it could be one'. That's what a sculpture has to look like. It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite.. .And I don't see this aspect in many artists' work. Often, my feeling is that they think something up that is supposed to be art. That's not what I want at all. Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.

. . . while we must not thrust beliefs on people, belaboring their minds to try to make them accept orthodoxy, we may set these same beliefs before people, showing them the rich truth which we have found and which they may come to receive as their questing mind develops and grows.

One of the obligations which a historian of manners must never fail to do is not to spoil the truth by apparently dramatic arrangements, especially when the truth has taken the trouble to become romantic. Social nature, especially in Paris, involves such chances, such capricious entanglements of conjectures, that the imagination of inventors is at all times exceeded. The boldness of truth amounts to combinations forbidden in art — that is how improbable or indecent they are — unless the writer softens them, appeases them, castrates them.

A picture whether or not it is really true to fact must above all things appear true.

What a scandal to hear nature deprecated in comparison to Greek statues by one who knows neither one nor the other without acknowledging that the smallest part of Nature confounds and amazes those who know most. What statue or cast of it might there be that is not copied from divine nature?

In the beginning when the world was young there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts.

It was the truths that made the people grotesques. The moment one of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood.

When reality does not coincide with deeply held beliefs, human beings tend to phrase interpretations that force reality within the scope of these beliefs. They devise formulas to repress the unthinkable and to bring it back within the realm of accepted discourse.

Nature, to be commanded, must be obeyed. The imagination must be given not wings but weights.

Muchas religiones han intentado hacer grandes estatuas de sus dioses, con la idea, supongo, de hacernos sentir pequeños a nosotros. Pero, si ése era su objetivo, ya pueden quedarse con sus míseros íconos. Para sentirnos pequeños basta con que levantemos la mirada