[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting. (Paul Klee)

[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting.

Related topics

applying base bass color colored dark different end entire free fundamental general graphic large off oil remain second substituting surface swim talent thin third transfer white tonal NOTES

Related quotes

Since all preceding schools of painting have proved that the spirit of beauty does not lie in nature but in the 'I', now that painting in all its various expressions from Giotto to Cézanne has demonstrated that all beauty is in the 'I', that the 'I' is all emotion and that beyond the 'I' nothing can exist because all being exists only in relationship with the 'I', now the time has come to develop from this 'I' a new style. As soon as this 'I' becomes the general, universal 'I' instead of the individualistic or the rationalistic one, the new style will be a general style.

Theo van Doesburg

Modern empiricism has been conditioned in large part by two dogmas. One is a belief in some fundamental cleavage between truths which are analytic, or grounded in meanings independently of matters of fact, and truths which are synthetic, or grounded in fact. The other dogma is reductionism: the belief that each meaningful statement is equivalent to some logical construct upon terms which refer to immediate experience. Both dogmas, I shall argue, are ill-founded. One effect of abandoning them is, as we shall see, a blurring of the supposed boundary between speculative metaphysics and natural science. Another effect is a shift toward pragmatism.

Willard van Orman Quine

...we find and we know that this attempt in Ireland to make the power and influence of the State the means of supporting one creed against another has been the plague and the scourge of the country-has divided man from man, class from class, kingdom from kingdom, and in this great, and ancient, and noble empire has had the effect of now exhibiting us to the world as a divided country-three kingdoms, two of which we are indeed heartily united and associated, but the third of which offers to mankind a spectacle painful and full of schism and destruction within itself, and alienation and estrangement as regards the Throne and Constitution of this realm.

William Ewart Gladstone

People frequently ask why my canvases are compartmentalized. No one ever asks this about a house. A man with a large family would not choose to live in a one-room house... I am like a man with a large family and must have many rooms. The children of my imagination occupy the various compartments of my painting, each independent and occupying its own place. At the same time they have the proper atmosphere in which to function together, in harmony and as a unified group. One can say that my paintings are like a house, in which each occupant has a room of his own.

Adolph Gottlieb

When they asked some old Roman philosopher or other how he wanted to die, he said he would open his veins in a warm bath. I thought it would be easy, lying in the tub and seeing the redness flower from my wrists, flush after flush through the clear water, till I sank to sleep under a surface gaudy as poppies. But when it came right down to it, the skin of my wrist looked so white and defenseless that I couldn't do it. It was as if what I wanted to kill wasn't in that skin or the thin blue pulse that jumped under my thumb, but somewhere else, deeper, more secret, and a whole lot harder to get at.

Sylvia Plath