Exterior Quotes - page 2
The commitment I have made is terrible and the plastic means appear and disappear at the moment of implementation. It's terrible... And the chaos of will? What law? It's terrible... Then I struggle with sculpture: I work, work and work and I don't know what I give. Is it interior? Is it exterior? Is it sensation? Is it delirium? Is it brain? Analysis? Synthesis? I don't know what the f... it is! Forms on forms.. confusion... The Cubists are wrong. Picasso is wrong. The academics are wrong. We're all a bunch of d.. heads.
Umberto Boccioni
The new architecture has 'opened' the walls so that the separateness of interior and exterior is suppressed. Walls no longer sustain since the system of construction is based upon the use of columns. This results in a new type of ground plan, an open ground plan, which is totally different from classical ones, since interior space and exterior space are interrelated.
Theo van Doesburg
We believe that this administration represents Israel inside America. Take the sensitive ministries such as the Ministry of Exterior and the Ministry of Defense and the CIA, you will find that the Jews have the upper hand in them. They make use of America to further their plans for the world, especially the Islamic world. American presence in the Gulf provides support to the Jews and protects their rear. And while millions of Americans are homeless and destitute and live in abject poverty, their government is busy occupying our land and building new settlements and helping Israel build new settlements in the point of departure for our Prophet's midnight journey to the seven heavens. America throws her own sons in the land of the two Holy Mosques for the sake of protecting Jewish interests.
Osama bin Laden
Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.
Theo van Doesburg
Dada is a farce, a legend, a state of myth. A badly behaved myth whose subterranean survival and capricious manifestation upset everyone.. .The aesthetic of absolute negativity has been changed into methodical doubt, thanks to which it will finally be able to incarnate new signs.. .After the NO and the ZERO, there is a third position for the myth; the anti-art gesture of Marcel Duchamp has been charged with positive energy. The Dada spirit identifies itself with a method of appropriation of exterior reality of the modern world.. .The ready-made is no longer the height of negativity or of polemic, but the basis element of a new expressive repertoire. Such is the New Realism: a direct means for getting one's feet back on the ground but at 40 degree above Dada zero.
Gerhard Richter
[the] circular rhythmic movement of a dancer, the folds of whose dress are held out by means of a hoop. These folds preserve their exterior form, modified in a uniform manner through the rotary movement. In order the better to convey the notion of relief, I have attempted to model the essential portions in a manner almost sculptural. Light and ambiance act simultaneously on the forms in movement.
Gino Severini
[The] length of the cycles and the tendency towards dampening are determined by the intrinsic structure of the swinging system, while the intensity (the amplitude) of the fluctuations is determined primarily by the exterior impulse. An important consequence of this is that a more or less regular fluctuation may be be produced by a cause which operates irregularly.
Ragnar Frisch
My sole occupation is love.
All my occupation now is the practice of the love of God, all the powers of soul and body, memory, understanding, and will, interior and exterior senses, the desires of spirit and of sense, all work in and by love. All I do is done in love; all I suffer, I suffer in the sweetness of love.
John of the Cross
If the soul has not reached the state of unitive love, it is necessary for it to make acts of love, as well in the active as in the contemplative life. But when it has reached it, it is not requisite it should occupy itself in other and exterior duties - unless they be matters of obligation - which might hinder, were it but for a moment, the life of love in God, though they may minister greatly to His service; because an instant of pure love is more precious in the eyes of God and the soul, and more profitable to the Church, than all other good works together, though it may seem as if nothing were done.
John of the Cross
Everything rhythmically organic is true. Everything, which results from the proper feeling for rhythmically organized spiritual units, is true and alive - alive within itself. When we lose the sense for such true beauty we lose our natural sense for the rich flavor of life, which is the basis for all inspirational work.
Things generally taken for beautiful are nothing other than the product of frozen, stereotyped taste, bound by sterile rules and purely exterior judgment.
Hans Hofmann
It is not events and the things one sees and enjoys that produce happiness, but a state of mind which can endow events with its own quality, and we must hope for the duration of this state rather than the recurrence of pleasurable events. Is this state actually an interior one, and can we recognize it otherwise than the by the changes it produces in all exterior things? If we exclude sensation and memory from our thoughts, there is nothing left but a wordless emptiness. Where can pure ecstasy and pure happiness be found? As certain phosphorescent fish see the deep water, the seaweed, and the other creatures of the sea light up at their approach but never perceive the movable source of this illumination because it is in themselves, so the happy man, though he is aware of his effect upon others, has difficulty in perceiving his happiness and even greater difficulty in predicting it.
André Maurois
Here, too, was the guide, the beacon, for such times as humanity might be in danger; here was the Guardian of Whom all humans knew - not an exterior force, nor an awesome Watcher in the sky, but a laughing thing with a human heart and a reverence for its human origins, smelling of sweat and new-turned earth rather than suffused with the pale odor of sanctity.
Theodore Sturgeon
To me, it really seems visible today that ethics is not something exterior to the economy, which, as technical matter, could function on its own; rather, ethics is an interior principle of the economy itself, which cannot function if it does not take account of the human values of solidarity and reciprocal responsibility.
Pope Benedict XVI
An artist worthy of the name should express all the truth of nature, not only the exterior truth, but also, and above all, the inner truth.
When a good sculptor models a torso, he not only represents the muscles, but the life which animates them - more than the life, the force that fashioned them and communicated to them, it may be, grace or strength, or amorous charm, or indomitable will.
In the works of Michael Angelo, the creative force seems to rumble; in those of Luca della Robbia it smiles divinely. So each sculptor, following his temperament, lends to nature a soul either terrible or gentle.
Auguste Rodin
To any artist, worthy of the name, all in nature is beautiful, because his eyes, fearlessly accepting all exterior truth, read there, as in an open book, all the inner truth.
He has only to look into a human face in order to read there the soul within - not a feature deceives him; hypocrisy is as transparent as sincerity - the line of a forehead, the least lifting of a brow, the flash of an eye, reveal to him all the secrets of a heart.
Auguste Rodin
In general, it is possible to say that in artists as deliberate, as careful as [Durer and Holbein], drawing is particularly tight and the color is as cold as the verity of mathematics. In other artists, on the contrary, in those who are the poets of the heart, like Raphael, Correggio, Andrea del Sarto, line has more suppleness and color, more winning tenderness. In others whom we call realists that is to say, whose sensibility is more exterior, in Rubens, Velasquez, Rembrandt, for example, line has a living charm with its force and its repose, and the color sometimes bursts into a fanfare of sunlight, sometimes fades into mist.
So, the modes of expression of men of genius differ as much as their souls, and it is impossible to say that in some among them drawing and color are better or worse than in others.
Auguste Rodin
