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This is to show the world that I can paint like Titian. [A big drawing of a rectangle] Only technical details are missing.
--
Wolfgang Pauli, in a reaction to Werner Heisenberg's claim that a unified field theory had been found, but the technical details were missing, in a letter to George Gamow (1958); as quoted in Hyperspace : A Scientific Odyssey through Parallel Universes, Time Warps, and the Tenth Dimension (1995) by Michio Kaku, p. 137

 

Titian

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The academic-reactor designer is a dilettante. He has not had to assume any real responsibility in connection with his projects. He is free to luxuriate in elegant ideas, the practical shortcomings of which can be relegated to the category of "mere technical details." The practical-reactor designer must live with these same technical details. Although recalcitrant and awkward, they must be solved and cannot be put off until tomorrow. Their solution requires manpower, time and money.

 

Hyman G. Rickover

 

It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.

 

Phillip Guston

 

When Titian or Tintoret look at a human being, they see at a glance the whole of its nature, outside and in; all that it has of form, of color, of passion, or of thought; saintliness, and loveliness; fleshly body, and spiritual power; grace, or strength, or softness, or whatsoever other quality, those men will see to the full, and so paint, that, when narrower people come to look at what they have done, every one may, if he chooses, find his own special pleasure in the work. The sensualist will find sensuality in Titian; the thinker will find thought; the saint, sanctity; the colourist, colour; the anatomist, form; and yet the picture will never be a popular one in the full sense, for none of these narrower people will find their special taste so alone consulted, as that the qualities which would ensure their gratification shall be sifted or separated from others; they are checked by the presence of the other qualities which ensure the gratification of other men. Thus, Titian is not soft enough for the sensualist, — Correggio suits him better; Titian is not defined enough for the formalist, — Leonardo suits him better; Titian is not pure enough for the religionist, — Raphael suits him better; Titian is not polite enough for the man of the world,— Van Dyke suits him better; Titian is not forcible enough for the lover of the picturesque,— Rembrandt suits him better. All are great men, but of inferior stamp, and therefore Van Dyke is popular, and Rembrandt is popular, but nobody cares much at heart about Titian; only there is a strange under-current of everlasting murmur about his name which means the deep consent of all great men that he is greater than they — the consent of those who, having sat long enough at his feet, have found in that restrained harmony of his strength there are indeed depths of each balanced power more wonderful than those separate manifestations in inferior painters: that there is a softness more exquisite than Correggio's, a purity loftier than Leonardo's, a force mightier than Rembrandt's, a sanctity more solemn even than Raphael's. … There are three Venetians that are never separated in my mind — Titian, Veronese, and Tintoret. They all have their own unequalled gifts, and Tintoret especially has imagination and depth of soul which I think renders him indisputably the greatest man; but, equally indisputably, Titian is the greatest painter; and therefore the greatest painter who ever lived.

 

Titian

 

l paint what cannot be photographed, and l photograph what l do not wish to paint. lf it is a portrait that interests me, a face, or a nude, I will use my camera. It is quicker than making a drawing or a painting. But if it is something I cannot photograph, like a dream or a subconscious impulse I have to resort to drawing or painting. To express what I feel I use the medium best suited to express that idea, which is also always the most economical one. l am not at all interested in being consistent as a painter, and object-maker or a photographer. I can use several different techniques, like the old masters who were engineers, musicians and poets at the same time. I have never shared the contempt shown by painters for photography: there is no competition involved, painting and photography are two media engaged in different paths. There is no conflict between the two.

 

Man Ray