Quotes of All Topics . Occasions . Authors
The world is full of resonances. It constitutes a cosmos of things exerting a spiritual action. The dead matter is a living spirit.
I really believe that I am the first and only artist to throw not just the 'subject' out of my paintings, but every 'object' as well.
There is only one road to follow, that of analysis of the basic elements in order to arrive ultimately at an adequate graphic expression.
As a picture painted in yellow always radiates spiritual warmth, or as one in blue has apparently a cooling effect, so green is only boring.
Art is not vague production, transitory and isolated, but a power which must be directed to the improvement and refinement of the human soul.
Only just now awakening after years of materialism, our soul is still infected with the despair born of unbelief, of lack of purpose and aim.
The sound of colors is so definite that it would be hard to find anyone who would express bright yellow with bass notes or dark lake with treble.
The word compositon moved me spiritually and I made it my aim in life to paint a composition. It affected me like a prayer and filled me with awe.
It is essential that the painter should develop not only his eyes, but also his soul, so that it too may be capable of weighing colors in balance.
The organic laws of construction tangled me in my desires, and only with great pain, effort, and struggle did I break through these 'walls around art.
The sound of colors is so definite that it would be hard to find anyone who would express bright yellow with base notes, or dark lake with the treble.
The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation.
The impact of the acute angle of a triangle on a circle produces an effect no less powerful than the finger of God touching the finger of Adam in Michelangelo.
The nightmare of materialism, which has turned the life of the universe into an evil, useless game, is not yet past; it holds the awakening soul still in its grip.
The artist must be blind to distinction between 'recognized' or 'unrecognized' conventions of form, deaf to the transitory teaching and demands of his particular age.
Every man who steeps himself in the spiritual possibilities of his heart is a valuable helper in the building of the spiritual pyramid which will someday reach to heaven.
A parallel between color and music can only be relative – just as a violin can give warm shades of tone, so yellow has shades, which can be expressed by various instruments.
Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated.
The spirit, like the body, can be strengthened and developed by frequent exercise. Just as the body, if neglected, grows weaker and finally impotent, so the spirit perishes if untended.
Absolute green is the most restful color, lacking any undertone of joy, grief, or passion. On exhausted men this restfulness has a beneficial effect, but after a time it becomes tedious.
Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.
In place of an intensive cooperation among artists, there is a battle for goods. Hatred, partisanship, cliques, jealousy, and intrigues are the natural consequences of an aimless, materialist art.
Every phenomenon can be experienced in two ways. These two ways are not arbitrary, but are bound up with the phenomenon – developing out of its nature and characteristics : Externally – or – inwardly.
With few exceptions, music has been for some centuries the art which has devoted itself not to the reproduction of natural phenomena, but rather to the expression of the artist's soul, in musical sound.
The artist is not a 'Sunday child' for whom everything immediately succeeds. He does not have the right to live without duty. The task that is assigned to him is painful, it is a heavy cross for him to bear.
Empty canvas. In appearance - really empty, silent, indifferent. Stunned, almost. In effect - full of tensions, with thousand subdued voices, heavy with expectations. A little frightened because it may be violated
Each period of a civilisation creates an art that is specific in it and which we will never see reborn. To try and revive the principles of art of past centuries can lead only to the production of stillborn works.
Emotion that I experienced on first seeing the fresh paint come out of the tube.. ..the impression of colours strewn over the palette: of colours - alive, waiting, as yet unseen and hidden in their little tubes...
The circle is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension.
Lend your ears to music, open your eyes to painting, and... stop thinking! Just ask yourself whether the work has enabled you to 'walk about' into a hitherto unknown world. If the answer is yes, what more do you want?
… lend your ears to music, open your eyes to painting, and … stop thinking! Just ask yourself whether the work has enabled you to “walk about” into a hitherto unknown world. If the answer is yes, what more do you want?
When I was thirteen or fourteen I bought a paintbox with oil paints from money slowly saved up. The feeling I had at the time - or better - the experience of color coming slowly out of the tube - is with me to this day.
Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential.
The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life.
The life of the spirit may be fairly represented in diagram as a large acute-angled triangle divided horizontally into unequal parts with the narrowest segment uppermost. The lower the segment the greater it is in breadth, depth, and area.
Everything that is dead quivers. Not only the things of poetry, stars, moon, wood, flowers, but even a white trouser button glittering out of a puddle in the street... Everything has a secret soul, which is silent more often than it speaks.
An empty canvas, apparently really empty, that says nothing and is without significance – almost dull, in fact – in reality, is crammed with thousands of undertone tensions and full of expectancy. Slightly apprehensive lest it should be outraged.
Whether the psychological effect of color is direct...or whether it is the outcome of association, is open to question. The soul being one with the body, it may well be possible that a psychological tremor generates corresponding one through association.
The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural The brighter it becomes, the more it loses its sound, until it turns into silent stillness and becomes white.
The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural... The brighter it becomes, the more it loses its sound, until it turns into silent stillness and becomes white.
In general, therefore, color is a means of exerting a direct influence upon the soul. Color is the keyboard. The eye is the hammer. The soul is the piano with its many strings. The artist is the hand that purposefully sets the soul vibrating by means of this or that key.
In your works, you have realized what I, albeit in uncertain form, have so greatly longed for in music. The independent progress through their own destinies, the independent life of the individual voices in your compositions, is exactly what I am trying to find in my painting.
The true work of art is born from the 'artist': a mysterious, enigmatic, and mystical creation. It detaches itself from him, it acquires an autonomous life, becomes a personality, an independent subject, animated with a spiritual breath, the living subject of a real existence of being.
A painter, who finds no satisfaction in mere representation, however artistic, in his longing to express his inner life, cannot but envy the ease with which music, the most non-material of the arts today, achieves this end. He naturally seeks to apply the methods of music to his own art.
Barriers are continually being made out of... new values which have overturned the barriers of the past. Thus one sees that it is not basically the new value that is of prime importance, but rather the spirit that is revealed in this value, as well as the freedom necessary for this revelation.
Today is the great day of one of the revelations of this world. The interrelationships of these individual realms were illumined as by a flash of lightning; they burst unexpected, frightening, and joyous out of the darkness. Never were they so strongly tied together and never so sharply divided.
I let myself go. I thought little of the houses and trees, but applied colour stripes and spots to the canva... Within me sounded the memory of early evening in Moscow, before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.
Those [things] that we encounter for the first time immediately have a spiritual effect upon us. A child, for whom every object is new, experiences the world in this way: it sees light, is attracted by it, wants to grasp it, burns its finger in the process, and thus learns fear and respect for the flame.
With cold eyes and indifferent mind the spectators regard the work. Connoissers admire the "skill" (as one admires a tightrope walker), enjoy the "quality of painting" (as one enjoys a pasty). But hungry souls go hungry away. The vulgar herd stroll through the rooms and pronounce the pictures "nice" or "splendid." Those who could speak have said nothing, those who could hear have heard nothing.
Drawing instruction is a training towards perception, exact observation and exact presentation not of the outward appearances of an object, but of its constructive elements, its lawful forces-tensions, which can be discovered in given objects and of the logical structures of same-education toward clear observation and clear rendering of the contexts, whereby surface phenomena are an introductory step towards the three-dimensional.