A Quote by Emily Murphy

On the prairie one can see the colour of the air. — © Emily Murphy
On the prairie one can see the colour of the air.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
When you grow up in that (multi-ethnic) environment, you see the world differently. Being a mixed-race child, I didn't always see colour in people, I really didn't. It was other people that made me see the colour all the time.
The beauty of the air, from the air... You haven't seen Australia unless you see it from the air. The coastline, the colours of the inland. The claypans, the forests. It's just all so beautiful. You'd never see that from the road. People climb mountains to see these things. You see that every time you take off.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
We see in colour all the time. Everything around us is in colour. Black and white is therefore immediately an interpretation of the world, rather than a copy.
Prairie grassland once covered much of North America's midsection. European settlers turned nearly all of it into farms and ranches, and today the prairie landscape survives mainly in isolated reserves.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
I look at the bird in the cage and see the air, not only the air that is around the bird when it flies, but I see and feel the formative tendency of air in its form. When I do all this, then what lives in the forms becomes enlivened and spiritualized for me.
That signal's come and gone a lot in my life-time, that prairie progressivism died . I think prairie progressivism is still there. Every once in a while, odd things take place.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
Not a breath of air stirred over the free and open prairie; the clouds were like light piles of cotton; and where the blue sky was visible, it wore a hazy and languid aspect.
Imagine a glorious full moon coming over the tops of the spruce, big and yellow, shedding a mysterious light on everything... the moonlight had colour, you could see to paint and be able to appreciate the colour of things.
The sky is no longer out there, but it is right on the edge of the space you are in. The sense of colour is generated inside you. If you then go outside you will see a different coloured sky. You colour the sky.
I will meet my countrymen. I understand only one language: that they are my countrymen, they are my brothers. You may see with whatever colour you want; Modi will not go into that colour.
The orthodox view of colour experience assumes that, when we see a colour difference between two surfaces viewed side-by-side, this is because we have different responses to each of the two surfaces viewed singly. Since we can detect colour differences between something like ten million different surfaces, this implies that we are capable of ten million colour responses to surfaces viewed singly.
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