The conflict between the theories of Surrealism & pure abstraction leads many to look upon one as black & bad & the other as white & good. Yet it seems to me that a good work of art has always contained both abstract & surrealist elements – just as it has both classical & romantic elements (order & surprise?).. .Surrealism is widening the field of contemporary art & is giving more freedom to the artist (& perhaps what is not unimportant, – stretching the appreciation of the public). Abstraction is re-establishing fundamental laws; bringing back form to painting & sculpture. There are many products of surrealism which I personally dislike,.. ..but equally Unimportant to me are the empty decorations produced in the name of abstraction.
Henry MooreRelated topics
abstract abstraction appreciation art artist bad black bringing classical conflict contemporary dislike empty field form freedom fundamental giving good name order painting perhaps public pure romantic sculpture stretching surprise white widening work yet surrealism surrealist elements lawsRelated quotes
The problem which Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited in a group-exhibition in the Stedelijk Museum in 1915 in Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its predetermined structure embodies 'becoming' rather than 'being'. This represents a true element in art, for art is not 'being', but 'becoming'. The idea of 'becoming' has been expressed in black and white.... Through years of hard work my own experiences have led me, before I came to know the theories of Uexkuell or Picasso, to prefer the use of the white-black-grey palette in works of a purely spiritual content...
Theo van Doesburg
Let true Christians then, with becoming earnestness, strive in all things to recommend their profession, and to put to silence the vain scoffs of ignorant objectors. Let them boldly assert the cause of Christ in an age when so many, who bear the name of Christians, are ashamed of Him: and let them consider as devolved on Them the important duty of suspending for a while the fall of their country, and, perhaps, of performing a still more extensive service to society at large; not by busy interference in politics, in which it cannot but be confessed there is much uncertainty; but rather by that sure and radical benefit of restoring the influence of Religion, and of raising the standard of morality.
William Wilberforce
The phase transition paradigm: The standard model of fundamental physics incorporates, as one of its foundational principles, the idea that "empty space” or "vacuum” can exist in different phases, typically associated with different amounts of symmetry. Moreover, the laws of the standard model itself suggest that phase transitions will occur, as functions of temperature. Extensions of the standard model to build in higher symmetry (gauge unification or especially supersymmetry) can support effective vacua with radically different properties, separated by great distance or by domain walls. That would be a form of failure of universality, in our sense, whose existence is suggested by the standard model.
Frank Wilczek
Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.
Marcel Duchamp
I feel the conflict still exists in me – but not causing me any difficulty in working, as it did immediately after returning from Italy [in 1925]. In fact I ask myself is this [the] conflict what makes things happen? For it seems to me now that this conflict between the excitement & great impression I got from Mexican sculpture & the love & sympathy I felt for Italian art, represents two opposing sides in me, the 'tough' & the 'tender', & that many other artists have had the same two conflicting sides in their natures.. ..and really I see no difficulty in appreciating both sides & finding them in the same artist. Perhaps an obvious & continuous synthesis will eventually derive in my own work – I can't say – I can only work as I feel & believe at the time I do the work.
Henry Moore
