I disagree with those who assert that Titian and El Greco painted on a tempera underpainting. ...In contrast to Titian, El Greco very frequently employed glazings ...In El Greco we find a curious combination of tempera school ideas associated with a freedom of the brush stroke surpassing that of his master, Titian. Like the tempera painters, El Greco often underpainted in grisaille and glazed upon such a monotone underpainting the fiery hues of madder lake, verdigris, azurite blue and yellow (probably Indian yellow). This... largely accounts for the brilliance and extraordinary luminosity... But El Greco's grisaille... was brushed on roughly and the texture of the superimposed color often does not correspond with that of the grisaille. This... is an entirely unorthodox method. Entirely unconventional also was his use of the madder, which, at times, he applied with an extreme impasto defying the nature of this glazing color.
El GrecoRelated topics
assert azurite blue brush color combination contrast extraordinary extreme find freedom glazing grisaille impasto indian lake luminosity madder master method monotone nature school stroke surpassing tempera texture times use verdigris yellow brilliance unconventional glazed titian underpainting grecoRelated quotes
There were two problems which had to be faced. One was spatial and the other methodological. In the first case I had to do something about relational painting, i. e. the balancing of the various parts of the painting with and against each other. The obvious answer was symmetry – make it the same all over. The question still remained, though, of how to do this in depth. A symmetrical image or configuration symmetrically placed on a open ground is not balanced out in the illusionistic space. The solution I arrived at, and there are probably quite a few, although I only know of one other, color density, forces illusionistic space out of the painting at constant intervals by using a regulated pattern. The remaining problem was simply to find a method of paint application which followed and complemented the design solution. This was done by using the house painters technique and tools.
Frank Stella
We are... bound to attach the greatest importance to the preliminary step taken by Lavoisier, who is even more justly called the father of modern chemistry than Kepler is called the father of modern astronomy. The exact claims of Lavoisier to this important place in the history of chemistry have been variously stated: ...since his time, and greatly through his labours, the quantitative method has been established as the ultimate test of chemical facts; the principle of this method being the rule that in all changes of combination and reaction, the total weight of the various ingredients-be they elementary bodies or compounds-remains unchanged. The science of chemistry was thus established upon an exact, a mathematical basis. By means of this method Lavoisier, utilising and analysing the results gained by himself and others before him, notably those of Priestley, Cavendish, and Black, succeeded in destroying the older theory of combustion, the so-called phlogistic theory.
Antoine Lavoisier
So it was that I gave about 1949 my 'Lecture on Nothing' at the Artists' Club on Eighth Street in New York City (started by Robert Motherwell), which predated the popular one associated with Philip Pavia, Bill de Kooning, et al. ). This 'Lecture on Nothing' was written in the same rhythmic structure I employed at the time in my musical compositions (Sonatas and Interludes, Three Dances, etc.). One of the structural divisions was the repetition, some fourteen times, of a single page in which occurred the refrain, 'If anyone is sleepy let him go to sleep.' Jeanne Reynal, I remember, stood up part way through, screamed, and then said, while I continued speaking, 'John, I dearly love you, but I can't bear another minute.' She then walked out. Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen.
John Cage
When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art.
Kurt Schwitters
Living with the conditions of slavery and then later segregation, many Negroes lost faith in themselves. Many came to feel that perhaps they were less than human, perhaps they were inferior. But then something happened to the Negro. Circumstances made it possible and necessary for him to travel more. The coming of the automobile, the upheavals of two world wars, the great depression. So his rural plantation background gradually gave way to urban industrial life. His economic life was gradually rising and even his cultural life was gradually rising through the steady decline of crippling illiteracy. All of these forces conjoined to cause the Negro to take a new look at himself. His religion revealed to him that God loves all of his children and that all men are made in His image. That the basic thing about a man is not his specificity but his fundamental. Not the texture of his hair or the color of his skin but his eternal dignity and worth.
Martin Luther King Jr.
