Two pictures painted in the year 1907 can conveniently be taken as the starting point of twentieth-century art. They are Matisse's Blue Nude and Picasso's Demoiselles d'Avignon; and both these cardinal, revolutionary pictures represent the nude. The reason is that the revolt of twentieth-century painters was not against academicism: that had been achieved by the impressionists. It was a revolt against the doctrine, with which the impressionists implicitly agreed, that the painter should be no more than a sensitive and well-informed camera. And the very elements of symbolism and abstraction that made the nude an unsuitable subject for the impressionists commended it to their successors. When art was once more concerned with concepts rather than sensations, the nude was the first concept that came to mind.
Kenneth ClarkRelated topics
abstraction academicism art blue came camera cardinal concept doctrine mind nude once painter point reason revolt revolutionary sensitive should starting subject symbolism take year elements picturesRelated quotes
The prejudices of the second species, since they impose upon the intellect by the sensual conditions restricting the mind if it wishes in certain cases to attain to what is intellectual, lurk more deeply. One of them is that which affects knowledge of quantity, the other that affecting knowledge of qualities generally. The former is: every actual multiplicity can be given numerically, and hence, every infinite quantity; the latter, whatever is impossible contradicts itself. In either of them the concept of time, it is true, does not enter into the very notion of the predicate, nor is it attributed as a qualification to the subject. But yet it serves as a means for forming an idea of the predicate, and thus, being a condition, affects the intellectual concept of the subject to the extent that the latter is only attained by its aid.
Immanuel Kant
What I really want to do, it seems, is to paint a single form in the middle of a canvas... That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.... I became signs. Exactly.... It seemed to become signs and symbols and I don't like signs.
Phillip Guston
Often we were joined by Maurice Princet. Although very young, he held an important post in an insurance company which he owed to his knowledge of mathematics. But outside his profession it was as an artist that he thought of mathematics, as a specialist in aesthetics that he evoked continuities in n dimensions. He liked to interest painters in the new visions of space that had been opened up by Victor Schlegel and several others. He succeeded. After having heard him by chance, Henri Matisse was caught reading an essay on hyperspace. Oh! it was only a potboiler [un ouvrage de vulgarisation]! but at least that shows that for the great 'fauve' the days of the painter who knows nothing, who runs towards a pretty subject with his beard blowing in the wind, was passed.
Jean Metzinger
WHAT HAPPENS AFTER DEATH?
When a human soul goes out of the body, some great mystery happens. For if it is guilty of sins, then there come hordes of demons, evil angels and dark forces, take that soul and drag it to their side.
No one should be surprised at that, because if a man surrendered and fell prey to them while still alive in this world, will not they have even greater control over him and enslave him when he departs from this world?
As for the other, the better part of people, something different happens to them. There are Angels around the holy servants of God in this life; the holy spirits surround them and protect them; and when their souls are separated from the body, the choir of Angels welcomes them into their fellowship, into a bright life, and thus leads them to the Lord.
Macarius of Egypt
Speaking purely for myself, I can say that it was my very acute feeling for the matière, for the substance of painting, which pushed me into thinking about the possibilities of the medium. I wanted to create a kind of substance by means of brush-work. But that is the kind of discovery which one makes gradually, though once a beginning had been made other discoveries follow. Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures. For I suddenly saw the extent to which colour is related to the substance... So my great delight was the 'material' character which I could give to my pictures by introducing these extraneous elements. In short, they provided me with a means of getting further away from idealism in 'representing' the things with which I was concerned.
Georges Braque
