Top 1200 Museum Of Natural History Quotes & Sayings

[In the Field Museum of Natural History] we could see very simple, primitive, hand-built pottery from Babylonia and ancient Egypt and so forth, Greece. We could see the most sophisticated things that came out of the Orient - Japan, Korea, and China - some few pieces of European porcelain, majolica [tin glazed earthenware], and that sort of thing. But they had a marvelous collection.

what are the objects of an useful American education? classical knowlege, modern languages & chiefly French, Spanish, & Italian; Mathematics; Natural philosophy; Natural History; Civil History; Ethics.

Natural history is not equivalent to biology. Biology is the study of life. Natural history is the study of animals and plants-of organisms. Biology thus includes natural history, and much else besides.

Let us not underrate the value of a fact; it will one day flower in a truth. It is astonishing how few facts of importance are added in a century to the natural history of any animal. The natural history of man himself is still being gradually written.

It's funny, I'm very analytical in my real life, but in terms of my films, I try to not analyze them at all and let things just go into them and let them be what they are. I mean, people ask me to this day what 'The Squid and the Whale' stood for, and I have no idea except that it's an exhibit in the Natural History Museum.

This is not a museum of tragedy. It is not the museum of difficult moments. It is the museum that says -here is a balanced history of America that allows us to cry and smile.

I was brought up to understand Darwin's theory of evolution. I spent hours and hours in the Natural History Museum in London looking at the descriptions of how different kinds of animals had evolved, looking at the sequence of fossil bones looking gradually more and more and more and more like the modern fossil.

The American Museum of Natural History is my son's absolute favorite place in the world! So we really, really, really love New York.

I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum.

What would I put in a museum? Probably a museum! That's an amusing relic of our past.

I am particularly fond of [Emmanuel Mendes da Costa's] Natural History of Fossils because this treatise, more than any other work written in English, records a short episode expressing one of the grand false starts in the history of natural science and nothing can be quite so informative and instructive as a juicy mistake.

My sixth book, 'A Breath of Snow and Ashes,' was nominated for a number of book awards, one of which was The Quill Award, and they had it in New York at the Natural History Museum.

The philosophy that I have worked under most of my life is that the serious study of natural history is an activity which has far-reaching effects in every aspect of a person's life. It ultimately makes people protective of the environment in a very committed way. It is my opinion that the study of natural history should be the primary avenue for creating environmentalists.

The first painting I remember selling was 'Panthera.' I made it while I was in residence at the Studio Museum in Harlem, and the museum actually purchased it directly from me.

Craft is not a category; it's a means. The folks running the museum [Museum of Arts and Design]are sharp, and they know this, but they are in a bind.

I was, from early on, interested in science. And my parents were very obliging about that. My father used to take me to the museum of natural history, and I knew much more scientific stuff early on. From the time I was 11 or 12, I wanted to be a mathematician.

My education in the arts began at the Cleveland Museum of Art. As a Cleveland child, I visited the museum's halls and corridors, gallery spaces and shows, over and over. For me, the Cleveland Museum was a school of my very own - the place where my eyes opened, my tastes developed, my ideas about beauty and creativity grew.

The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.

The moment you introduce difference into a museum, then the privileged space is contested, and under the most ideal circumstances what all artists want is the chance to be competitive. That's what I think the museum is supposed to be.

It is a standing source of astonishment and amusement to visitors that the British Museum has so few British things in it: that it is a museum about the world as seen from Britain rather than a history focused on these islands.

Almost everyone... seems to be quite sure that the differences between the methodologies of history and of the natural sciences are vast. For, we are assured, it is well known that in the natural sciences we start from observation and proceed by induction to theory. And is it not obvious that in history we proceed very differently? Yes, I agree that we proceed very differently. But we do so in the natural sciences as well.

So I did a program with the Recording Academy, the Grammy Museum. So pretty much they take, like, one hundred kids during the summer and for a week or two every day they go over something different in music history. Then during the music history part of the program, they would just tell us about the different eras.

I go to the Natural History Museum and look at the cage of stuffed starlings there. But my favourite thing is the big blue whale. The scale of it is unbelievable, and makes you feel how insignificant you are as a human being.

What I think about when I frequent the Museum of Natural History, the Metropolitan [Museum of Art], and I look at these artifacts that are taken out of context and how we're forced to view them as objects, as relics, as sculpture- static. But what's interesting is what it allows me to do in my head in terms of imagining what the possibilities are or imagining the role in which they played within a particular culture which I'm fascinated by.

In my junior year, I studied geology on Saturday mornings at the Museum of Natural History. Mineralogy has always been a major interest.

Go to the source for ideas, go to the Metropolitan Museum, find your inspiration in nature, go to the Museum of Natural History, but never rely on something that someone else has done.

I can no more explain why I like "natural history" than why I like California canned peaches; nor why I do not care for that enormous brand of natural history which deals with invertebrates any more than why I do not care for brandied peaches. All I can say is that almost as soon as I began to read at all I began to like to read about the natural history of beasts and birds and the more formidable or interesting reptiles and fishes.

The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.

I first drew the attention of my future husband when we were fourteen, on the freshman school bus for an epic field trip from Riverside, Calif. to Los Angeles, where we were taken to the L.A. Zoo as well as the Natural History Museum.

We always have a great time touring Germany, but one of my favourite museums in the world is Museum Ludwig, an incredible contemporary art museum in Cologne. I could spend all day in it.

People are used to seeing natural history programmes that have been filmed over many years which are concentrated, focused visions of natural history.

I was brought up in a family which valued natural history. Both my parents knew the names of all the British wildflowers, so as we went walking the country, I was constantly being exposed to a natural history sort of knowledge.

The Elgin Marbles were supposed to be on the Parthenon. For many works of art, a museum is an artificial setting - a zoo, not a natural habitat.

If the world were to end tomorrow and we could choose to save only one thing as the explanation and memorial to who we were, then we couldn't do better than the Natural History Museum, although it wouldn't contain a single human. The systematic Linnean order, the vast inquisitiveness and range of collated knowledge and beauty would tell all that is the best of us.

My own first love was biology. I spent a great part of my adolescence in the Natural History museum in London (and I still go to the Botanic Garden almost every day, and to the Zoo every Monday). The sense of diversity of the wonder of innumerable forms of life has always thrilled me beyond anything else.

Mathematics without natural history is sterile, but natural history without mathematics is muddled.

I want to reach out and entertain people. I want people to come to a museum that have never been in a museum before. I want also to have enough art references in it that would satisfy the most sophisticated museum goer.

Racial history is therefore natural history and the mysticism of the soul at one and the same time; but the history of the religion of the blood, conversely, is the great world story of the rise and downfall of peoples, their heroes and thinkers, their inventors and artists.

The British Museum was our first real museum, the property of the public rather than the monarch or the church.

I would like to bring people who have never been to a museum into a museum. And I would like to bring museum goers into libraries. I think there ought to be this cross-fertilization.

I did make several trips to the very wonderful [Georgia] O'Keeffe museum. Besides the art (my favorite paintings are from her Pelvis series) my favorite thing about the museum is the architecture. I love how enormously tall the doors are - it is like going into a church. There is also something home-like about the layout of the museum. I wish I could live there!

The deep sea is the largest museum on earth, it contains more history than all the museums on land combined, and yet we're only now penetrating it.

The history of harmony is the history of the development of the human ear, which has gradually assimilated, in their natural order, the successive intervals of the harmonic series.

Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were selected not for art content but for their relationship to the anthropological history of mankind.

I seldom go into a natural history museum without feeling as if I were attending a funeral.

I went to my first dinosaur hall with my father and twin brother. We went to the American Museum of Natural History, and I was blown away by the dinosaurs.

I was a terrible history student. They taught me history as if it were a visit to a wax museum or to the land of the dead. I was over twenty before I discovered that the past was neither quiet nor mute.

The scientific observer of the realm of nature is in a sense naturally and inevitably disinterested. At least, nothing in the natural scene can arouse his bias. Furthermore, he stands completely outside of the natural so that his mind, whatever his limitations, approximates pure mind. The observer of the realm of history cannot be disinterested in the same way, for two reasons: first, he must look at history from some locus in history; secondly, he is to a certain degree engaged in its ideological conflicts.

History has neither the venerableness of antiquity, nor the freshness of the modern. It does as if it would go to the beginning ofthings, which natural history might with reason assume to do; but consider the Universal History, and then tell us,--when did burdock and plantain sprout first?

I have a hippopotamus skull next to my bed, called Gregory. When I was six, my three sisters and I clubbed together and paid £4 for it in a junk shop. We collected owl pellets, ostrich eggs and sheep skulls for our natural history museum at home.

The relocated Powerhouse Museum in Parramatta will be the anchor for arts and culture for the region, and now the site for the museum is locked in.

A Museum of fetishes would give special attention to the history of underwear.

Other thing about [Field Museum of Natural History] which inspired was that in a group of pots you wouldn't see a single example of this kind of pot. You would perhaps see a case with 20 different examples. So you realize that these pots could be repeated again and again, and each time there would be minor variations in them.

There's a thing at the Museum of Natural History in New York, where I live: they have a stairwell where you follow the beginning and the course of this planet, and it's a very long stairwell, and you follow, and you follow, and then you reach the top, and we're, like, half a step on the stairwell - the timeline for us on this planet.

A museum of accidents is needed. This museum already exists, it's television.

Chicago is a wonderful area because it's blessed with a tremendous number of museums of various sorts, not only the Art Institute of Chicago but the Field Museum of Natural History, the Oriental Museum on the south side.

I developed an interest in the history of the Negro leagues to the point where I visited the museum in Kansas City, Mo., twice and made the museum an integral part of my unheralded 2005 coming-of-age baseball novel, 'Scooter.'

A Children’s Museum, however, is more of a Funatorium. You are encouraged to touch things, which is poor training for subsequent museum visitation.

Dr. Kertesz mentioned to me a case known to him of a farmer who had developed prosopagnosia and in consequence could no longer distinguish (the faces of) his cows, and of another such patient, an attendant in a Natural History Museum, who mistook his own reflection for the diorama of an ape

Sometimes I feel like a caretaker of a museum -- a huge, empty museum where no one ever comes, and I'm watching over it for no one but myself.