Technique Quotes - page 7
After Herberholz had shown me all sorts of techniques, I suddenly got very interested in etching. I had a lot to say, I had a subject. Wash off the acid, put on the aquatint: a wonderful technique that you can use to get as many different shades and tones as you want. The 'doing' aspect of art becomes tremendously interesting when you start doing etchings; you get to be a real alchemist.
Otto Dix
So the years passed and I worked a great deal. And then I became ill and although I could still work, despite the fact that my hands became more and more rigid. I could no longer pick up the paintbrush and had to use both hands to do so, always with a great deal of pain. The format of my works became very small, and I also had to find a new technique. For three years I painted these small heads like a man possessed. Then I realized that I would soon have to stop working entirely: and that's what happened, too!
Alexej von Jawlensky
Since 1929 I have suffered from an extremely painful disease [arthritis deformans] which gets worse every year. Little by little my arms and hands have become stiff and bent and I have terrible pain. This stiffness in my elbows and wrists has tremendously hindered my painting and I have had to find a new technique. My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual..
Alexej von Jawlensky
[a new order] ..independent of the values of the feelings, and the description and imitation of nature.. .The value of technique beauty without artistic intention resides in its organism and can be deducted at the same time by its geometric ambitions. I can therefore speak of a new order: the architecture of the technical world. Since the industrial object belongs to the architectonic order, it is assigned an important role in today's artistic creation.
Fernand Léger
Respectable scientists like de Broglie himself accept wave mechanics because it confers coherence and unity upon the experimental findings of contemporary science, and in spite of the astonishing changes it implies in connection with ideas of causality, time, and space, but it is because of these changes that it wins favor with the public. The great popular success of Einstein was the same thing. The public drinks in and swallows eagerly everything that tends to dispossess the intelligence in favor of some technique; it can hardly wait to abdicate from intelligence and reason and from everything that makes man responsible for his destiny.
Simone Weil
Suppose someone sits down where you are sitting right now and announces to me that he is Napoleon Bonaparte. The last thing I want to do with him is to get involved in a technical discussion of cavalry tactics at the Battle of Austerlitz. If I do that, I'm getting tacitly drawn into the game that he is Napoleon Bonaparte. Now, Bob Lucas and Tom Sargent like nothing better than to get drawn into technical discussions, because then you have tacitly gone along with their fundamental assumptions; your attention is attracted away from the basic weakness of the whole story. Since I find that fundamental framework ludicrous, I respond by treating it as ludicrous – that is, by laughing at it – so as not to fall into the trap of taking it seriously and passing on to matters of technique.
Robert Solow
Art's means of representing a thing – style, technique and the object represented – are circumstances of art, just as the artist's individual qualities (way of life, abilities, environment and so on) are circumstances of art. Art can just as well be made in harmony with the circumstances of its making as in defiance of them. In itself art is neither visible nor definable: all that is visible and imitable is its circumstances, which are easily mistaken for the art itself.
Gerhard Richter
Blok was probably the greatest Russian poet since Pushkin; although internationally less well known than Rilke and Valéry, he is of their stature and importance. He revolutionized Russian versification by making use of a purely accentual technique. He knew, as so few now know, that only the poetry of suffering – whether it is a poetry of joy or not – can be great. His own poetry, for which he burnt himself out, demonstrates this.
Alexander Blok
Subject.. ..no specific scene but many incidents. – The first word I spoke was Argula – it has no meaning. I was then five years old. Thus I called this painting 'Argula' as I was entering a new period closer to my instincts.
(Technique..:) Hundreds and hundreds of layers of paint to obtain the weight of reality – Art this period I measured by weight. [mid 1930's].
Arshile Gorky
All life is based on the fact that anything worth getting is hard to get. There is a price to be paid for anything. Scholarship can only be bought at the price of study, skill of craft or technique can only be bought at the price of practice, and eminence in any sport can only be bought at the price of training and discipline.
William Barclay
I was interested in achieving a creative freedom, a style that I could express with Seurat's.. ..color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.
Gino Severini
The technique used heavy, spiky pastes made of nothing other than ordinary oil paint, used thick and mixed with sand and gravel. I some cases – but these were the exception – a few miscellaneous objects were stuck into the wet paint, such as bits of string or little pieces of glass or mirror.
Jean Dubuffet
![And I learned very early [Josef Albers was then ten years old] how to make imitation of wood grain. This is something I have in common with Georges Braque. Braque also learned very early from his father how to imitate marble or wood grain. So I could easily make the appearance of oak or walnut on pine. That is very easy; a very simple technique. And I learned how to imitate marble. I never made such a good joke as Braque did. When he was in the Mediterranean he fooled his friends. He painted a rowboat that had wood on one side and marble on the other side. You see, when he'd row out of the city it looked as if he were in a boat of a different material than when he came back, you see, one side was imitation wood and the other side was imitation marble. (Josef Albers)](https://cdn.quotesdtb.com/img/quotes_images_webp/99/josef-albers-appearance-boat-477099.webp)
As I have already hinted, one of the directions of work which the realm of ideas of the Macy meetings has suggested concerns the importance of the notion and the technique of communication in the social system. It is certainly true that the social system is an organization like the individual, that it is bound together by a system of communication, and that it has a dynamics in which circular processes of a feedback nature play an important part. This is true, both in the general fields of anthropology and sociology and in the more specific field of economics; and the very important work, which we have already mentioned, of von Neumann and Morgenstern on the theory of games enters into this range of ideas. On this basis, Drs. Gregory Bateson and Margaret Mead have urged me, in view of the intensely pressing nature of the sociological and economic problems of the present age of confusion, to devote a large part of my energies to the discussion of this side of cybernetics.
Norbert Wiener
As in the case of the individual, not all the information which is available to the race at one time is accessible without special effort. There is a well-known tendency of libraries to become clogged by their own volume; of the sciences to develop such a degree of specialization that the expert is often illiterate outside his own minute specialty. Dr. Vannevar Bush has suggested the use of mechanical aids for the searching through vast bodies of material. These probably have their uses, but they are limited by the impossibility of classifying a book under an unfamiliar heading unless some particular person has already recognized the relevance of that heading for that particular book. In the case where two subjects have the same technique and intellectual content but belong to widely separated fields, this still requires some individual with an almost Leibnizian catholicity of interest.
Norbert Wiener
The success of mathematical physics led the social scientist to be jealous of its power without quite understanding the intellectual attitudes that had contributed to this power. The use of mathematical formulae had accompanied the development of the natural sciences and become the mode in the social sciences. Just as primitive peoples adopt the Western modes of denationalized clothing and of parliamentatism out of a vague feeling that these magic rites and vestments will at once put them abreast of modern culture and technique, so the economists have developed the habit of dressing up their rather imprecise ideas in the language of the infinitesimal calculus.
Norbert Wiener
