![[JawlenskyPickWerefkin] Yes, we [ Marianne Werefkin and Gabriéle] shared very much the same tastes and ideas, when we lived together in this house (the so-called 'Russian house' in Murnau]. She was extremely perceptive and intelligent, but Jawlensky [living with Marianne Werefkin] didn't always approve her work... Suddenly Jawlensky would pick on some tiny detail of one of Marianne's best and most original pictures and exclaim: 'That patch of color, there, is laid on much too flat and smoothly. It's just like old Riepin' [famous Russian painter Ilya Repin ] and their common former teacher in Russia]. Of course it was nonsense and he was only saying it to annoy her. But Jawlensky really was a devotee of the 'touche de peinture' of the French Fauvists, rather than an innovator, a believer in a new kind of art of the future. (Gabriele Munter)](https://cdn.quotesdtb.com/img/quotes_images_webp/07/gabriele-munter-annoy-art-850007.webp)
[JawlenskyPickWerefkin] Yes, we [ Marianne Werefkin and Gabriéle] shared very much the same tastes and ideas, when we lived together in this house (the so-called 'Russian house' in Murnau]. She was extremely perceptive and intelligent, but Jawlensky [living with Marianne Werefkin] didn't always approve her work... Suddenly Jawlensky would pick on some tiny detail of one of Marianne's best and most original pictures and exclaim: 'That patch of color, there, is laid on much too flat and smoothly. It's just like old Riepin' [famous Russian painter Ilya Repin ] and their common former teacher in Russia]. Of course it was nonsense and he was only saying it to annoy her. But Jawlensky really was a devotee of the 'touche de peinture' of the French Fauvists, rather than an innovator, a believer in a new kind of art of the future.
Gabriele MunterRelated topics
annoy art believer best color common course detail devotee exclaim flat former french future house innovator kind lay living nonsense original painter patch pick russia russian saying teacher tiny work yes picturesRelated quotes
We of the Labour Party reject policies and measures which failed the nation then and will fail the nation now. We want to lay the foundations of a new and better Britain worthy of our great people. That is why we propose in the interests of the whole nation that the community should become the master of its economic progress and prosperity, instead of leaving control in private hands to be used primarily for the private advantage of a few. In short, we are standing for the common weal. But we need political power to enable us to give practical effect in Parliament to our great forward-looking policies. The nation has now the chance to give Labour the necessary power to do the job, and I appeal to the electors in the constituency which you are contesting to make certain of electing you to the new House of Commons.
Clement Attlee
If there must be a god in the house, must be,
Saying things in the room and on the stair,
Let him move as the sunlight moves on the floor,
Or moonlight, silently, as Plato's ghost
Or Aristotle's skeleton. Let him hang out
His stars on the wall. He must dwell quietly.
He must be incapable of speaking, closed,
As those are: as light, for all its motion, is;
As color, even the closest to us, is;
As shapes, though they portend us, are.
It is the human that is the alien,
The human that has no cousin in the moon.
It is the human that demands his speech
From beasts or from the incommunicable mass.
If there must be a god in the house, let him be one
That will not hear us when we speak: a coolness
A vermillioned nothingness, any stick of the mass
Of which we are too distantly a part.
Wallace Stevens
The film has written and spoken dialogue in twenty-five languages-English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian ... and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music ... a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures.
Peter Greenaway
He ventured to enter his most earnest protest against the mode in which several Members of that House were inclined to treat anything that ran out of the common ruck-and introduced them to schemes and ideas which former debates had not reached. The scheme of the hon. Gentleman was not new-he should not have thought that it was new to many Members of that House; the literature of the country had been full of it for three or four years. They all instinctively felt that it was a scheme that had no chance of success. It was not of our atmosphere-it was not in accordance with our habits; it did not belong to us. They all knew that it could not pass. Whether that was creditable to the House or not was a question into which he would not inquire; but every Member of the House the moment he saw the scheme upon the Paper saw that it belonged to the class of impracticable things.
Robert Gascoyne-Cecil, 3rd Marquess of Salisbury
Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital...
Hans Hofmann
