Discovery Quotes - page 13
I think I've had three or four moments in my work over the last twenty-five years that have been real discoveries. The pigment pieces felt to me as if they were a discovery about an object and what an object can be; how an object can be and not be. Then, of course, the void pieces. The idea that if I empty out all the content and just make something that is an empty form, I don't empty out the content at all. The content is there in a way that's more surprising than if I tried to make a content. So, therefore, the idea that subject matter is somehow not the same as content. Then, in a different sort of way, moving from matte surfaces to shiny surfaces. In terms of the fact that the traditional sublime is the matte surface, deep and absorbing, and that the shiny might be a modern sublime, which is fully reflective, absolutely present, and returns the gaze. This feels like a new way to think about the non-objective object.
Anish Kapoor
Throughout their early stages the movements of civilization-for, properly speaking, there was no one movement-were very slow, were local in space, and were partial in the sense that each developed along but few lines. Of the numberless years that covered these early stages we have no record. They were the years that saw such extraordinary discoveries and inventions as fire, and the wheel, and the bow, and the domestication of animals. So local were these inventions that at the present day there yet linger savage tribes, still fixed in the half-bestial life of an infinitely remote past, who know none of them except fire-and the discovery and use of fire may have marked, not the beginning of civilization, but the beginning of the savagery which separated man from brute.
Theodore Roosevelt
The new discovery that I have made in painting is the following. There are chords of colors, let's say a certain red and green, which move, shimmer when you look at them. Now if you're looking at a tree in a landscape, you can either look at the tree, or at the landscape, but not both, because of the stereoscopic effect. Now, when you are painting something three-dimensional, the chromatic sound which shimmers is the three-dimensional effect of colour, and when you paint a landscape, and the green foliage shimmers a little with the blue sky showing through it, that happens because the green is on a different plane from the sky in nature too. Finding the space-shaping energies of colour, instead of contenting ourselves with a dead chiaroascuro, is our finest task.
August Macke
There is, in a apple, in a head, a culminating point, and this point - in spite of the effect, the tremendous effect: shadow or light, sensations of colour - is always the one nearest to the eye. The edge of objects recede to another point placed on your horizon. This is my great principle, my conviction, my discovery. The eye must concentrate, grasp the subject, and the brain will find a means to express it..
Paul Cézanne