Fitness of design...either by art or nature, is first to be considered, as it is of the greatest consequence to the beauty of the whole.
Action is a sort of language which perhaps, one time or other, may come to be taught by a kind of grammar rules; but, at present, is only got by rote and imitation.
The general idea of an action, as well as of an attitude, may be given with a pencil in very few lines.
Out of the great number of faces that have been formed since the creation of the world, no two have been so exactly alike...
The utmost beauty of coloring depends on the great principle of varying, and on the proper and artful union of that variety.
Under this head I shall attempt to show what it is that gives the appearance of that hollow or vacant space in which all things move so freely.
As light must always be supposed, I need only speak of such privations of it as are called shades or shadows
If anyone should ask, what it is that constitutes a fine proportioned human figure? how ready and seemingly decisive is the common answer...
I beg the reader's patience while I lead him step by step into the knowledge of what I think the sublime in form, so remarkably displayed in the human body.
Simplicity, without variety, is wholly insipid, and at best does only not displease; but when variety is joined to it, then it pleases.
Intricacy in form, therefore, I shall define to be that peculiarity in the lines, which compose it, that leads the eye a wanton kind of chase
Forms of magnitude, although ill-shaped, will however, on account of their vastness, draw our attention and raise our admiration.
The straight line and the circular line, together with their different combinations and variations, circumscribe all visible objects.
We will next show how lines may be put together, so as to make pleasing figures or compositions.
There is scarce a room in any house whatever, where one does not see the waving-line employed in some way or other.
In which we learn that symmetry is over-rated and uniformity is boring.
Plants, flowers, leaves, the paintings in butterflies wings, shells, etc. seem of little other use than entertaining the eye with the pleasure of variety.
I shall endeavor to show what the principles are in nature, by which we are directed to call the forms of some bodies beautiful, others ugly; some graceful, and others the reverse.
Thus far have I thought fit to discourse from the beginning of sculpture and of painting, and peradventure at greater length than was necessary in this place, which I have done, indeed, not so much carried away by my affection for art as urged by the common benefit and advantage of our craftsmen.
It was the wont of the finest spirits in all their actions, through a burning desire for glory, to spare no labour, however grievous, in order to bring their works to that perfection which might render them impressive and marvelous to the whole world.
A treatise on the effect of infinite reproducibility on art, and a caution against fascist propaganda. Both more relevant than ever.
Millions of artists create; only a few thousands are discussed or accepted by the spectator
The great trouble with art ... is that there is no spirit of revolt
May the downfall of the old world be etched on the palms of your hands.
Every work of art is the child of its age and, in many cases, the mother of our emotions.
Art should be independent of all clap-trap—should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like.
Listen! There never was an artistic period. There never was an Art-loving nation. In the beginning, man went forth each day—all that they might gain and live, or lose and die.
This is how we decompose and recompose the universe according to our marvelous whims, to centuple the powers of the Italian creative genius and its absolute preeminence in the world.
By eliminating everything superfluous to the technical means of their craft the Cubists finally reached the common ground where a general, synthetic culture becomes possible.
Abandon love, abandon aestheticism, abandon the baggage of wisdom, for in the new culture, your wisdom is ridiculous and insignificant. I have untied the knots of wisdom and liberated the consciousness of color!
I shake off the dust of the West, and I consider all those people ridiculous and backward who still imitate Western models in the hope of becoming pure painters and who fear literariness more than death.
I condemn without hesitation the position of the Knave of Diamonds, which has replaced creative activity with theorizing.
What makes a piece of artwork significant, is the fullness of the artist’s efforts, the powerfulness of his or her will.
Three times that morning he had stood behind my easel and roared, "Scrape!" When he came the fourth time and said it again, my face went red.
A first encounter with any new phenomenon exercises immediately an impression on the soul.
Neo-Plasticism demonstrates exact order. Equilibrium through neutralizing opposition annihilates individuals...and creates a future society as true unity.
Universal beauty does not arise from form, but from the dynamic rhythm of inherent relationships. Art has shown that it is a question of determining the relations.
You see, I have made a great discovery: I no longer believe in anything...what I can only describe as a state of peace—
Nature has more depth than surface, hence the need to introduce in our vibrations of light, represented by reds and yellows, enough blue tints to give a feeling of air.
The organization of artistic elements must be applied to the design of the material elements of everyday life.
Art is harmony. Harmony is the analogy of contrary elements and the analogy of similar elements of tone, color and line...
There is nothing real outside ourselves; there is nothing real except the coincidence of a sensation and an individual mental direction.
I AM emphatically of opinion that the best Art of modern times is as good as any of its kind that has gone before, and furthermore, that the best Art of England can hold its own against the world.
In art, progress does not consist in extension, but in the knowledge of limits. Limitation determines style, engenders new form, and gives impulse to creation.
It is often said of a picture: this picture is not extraordinary, it is nothing remarkable, but “it shows great sensitiveness”.
My classical education naturally led me to study the Masters ... until the day when I realized that for me it was necessary to forget the technique of the Masters, or rather understand it in a completely personal manner. Isn’t this the rule with every artist of classical training?
It is the creation of a new form which expresses the relativity between weight and expansion, between rotation and revolution; here, in fact, we have life itself caught in a form which life has created in its infinite succession of events.
Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive.
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