This morning I received a letter from de Bellio. He writes that he does not believe scientific research into the nature of color and light can help the artist, neither can anatomy nor the laws of optics. He wants to discuss these questions with me and find out my views. Now everything depends on how this knowledge is to be used. But surely it is clear that we could not pursue our studies of light with much assurance if we did not have as a guide the discoveries of Chevreul and other scientists. I would not have distinguished between local color and light if science had not given us the hint; the same holds true for complementary colors, contrasting colors, etc. 'Yes', he will tell me: 'but these have always been taken into account, look at Monet' It is at this point that the question becomes serious!
Camille PissarroRelated topics
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Many people fail to grasp this point, apparently because they think of "scientific" evidence as only that produced in laboratories by controlled experiments. This leads them to treat field studies, however careful, thorough and well-documented, as "anecdotal"--mere preparation for the real thing, therefore properly ignored till it bears fruit entitled to be considered by learned persons. This attitude was much like that of cavalry generals in the First World War, waiting patiently for the infantry to clear the ground so that they could make the dashing charges that alone they thought entitled the name of warfare. Because these creatures are complex, only a tiny fraction of important truths about them can ever be seen in laboratories of expressed in control experiments. The same, of course, is true of the human race.
Mary Midgley
A line cannot control pictorial space absolutely. A line may flow freely in and out space, but cannot independently create the phenomenon of push and pull necessary to plastic creation. Push and pull are expanding and contracting forces which are activated by carriers in visual motion. Planes are the most important carriers, lines and points less so.. .the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push. ... At the end of his life and the height of his capacity Cézanne understood color as a force of push and pull. In his pictures he created an enormous sense of volume, breathing, pulsating, expanding, contracting through his use of colors.
Hans Hofmann
True Religion does not manifest itself outwardly, and impels man to no course of external conduct which he would not otherwise have adopted, but that it only completes his true In ward Being and Dignity. It is neither an Action, nor an incentive to Action, but a Thought:-it is LIGHT, and the One True Light, which bears within it all Life and all the forms of Life, and pervades their innermost substance. Once arisen, this Light flows on spontaneously forever, spreading itself forth without term or limit;-and it is as idle to bid it shine, as it would be to address such a command to the material sun when it stands in the noon-day heavens. It does this without our bidding; and if it shine not, then has it not arisen. At its uprising, Darkness, and the brood of spectres and phantasms which are born of Darkness, vanish of themselves.
Johann Gottlieb Fichte
Thus we must carefully distinguish between two kinds of reality, one which has an individual character, and one which has a universal appearance... It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them... It is equally wrong to think that the non-figurative artist creates through 'the pure intention of his mechanical process', that he makes 'calculated abstractions' and that he wish to 'suppress sentiment not only in himself but in the spectator'... It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art.
Piet Mondrian
The brave and faithful people of Iran too have many questions and grievances, including: the coup d'etat of 1953 and the subsequent toppling of the legal government of the day, opposition to the Islamic revolution, transformation of an Embassy into a headquarters supporting the activities of those opposing the Islamic Republic (many thousands of pages of documents corroborate this claim), support for Saddam in the war waged against Iran, the shooting down of the Iranian passenger plane, freezing the assets of the Iranian nation, increasing threats, anger and displeasure vis-à-vis the scientific and nuclear progress of the Iranian nation (just when all Iranians are jubilant and celebrating their country's progress), and many other grievances that I will not refer to in this letter.
Mahmoud Ahmadinejad
