The Oriental heritage, due to the long sojourn of the Moors in Spain, had a profound influence on the taste of the people. From these Oriental invaders the Spaniards derived the great surfaces of blank wall with occasional spots of luxuriant ornament that characterize nearly all their work. From them also comes the love of bright color shown in the use of polychrome tiles and rich fabrics and in the painting and gilding of sculpture and ornamental motives. While the large constructive forms, particularly vaults and domes, are frankly and simply expressed, the ornament as in the work of the Orient, is rather an incrustation, a mere surface decoration, than a pretense at logical construction.
Clarence SteinRelated topics
bright color comes due great large mere orient oriental ornamental pretense rich sculpture show sojourn surface taste use wall while workRelated quotes
The gospel freely admitted makes a man happy. It gives him peace with God, and makes him happy in God. It gives to industry a noble, contented look which selfish drudgery never wore; and from the moment that a man begins to do his work for his Saviour's sake, he feels that the most ordinary employments are full of sweetness and dignity, and that the most difficult are not impossible. And if any of you, my friends, is weary with his work, if dissatisfaction with yourself or sorrow of any kind disheartens you, if at any time you feel the dull paralysis of conscious sin, or the depressing influence of vexing thoughts, look to Jesus, and be happy. Be happy, and your joyful work will prosper well.
William Wilberforce
I think that photography has a lot to do with sculpture – because it is three-dimensional and because it depicts reality. For example, I have always been able to relate to photography more than to painting. When I was photographing the hi-fi adverts ['Hi-Fi-Serie' (1979)] I thought to myself, everyone has one of these towers at home. It's the latest thing, the most modern equipment available. So a sculpture must be at least as modern and must stand up to it. Then I hung the pictures on the wall and put an ellipsoid on the floor and thought, the ellipsoid must be at least as good as this advert. At least as good. That's how good a modern sculpture has to be. Do you see what I mean? That was the dialogue...
Isa Genzken
And therefore we can see just how constructive this Spinozian difference is, just how constructive this negativity really is! The organic interweaving of these two motifs is fundamental in the history of European philosophy. Spinoza is the first to mold this logical mechanism that bourgeois philosophy would constantly and continually try to abrogate during its subsequent development. In Kantianism, as in classical idealism, Spinoza continually remains the object of opposition and polemic: What is destroyed is precisely the intersection between the negation of the ideology and the construction of the world, the inherence of the limit, of the materiality, to the infinite.
Baruch Spinoza
I focus on popular culture because I focus on those areas where black humanity is most powerfully expressed, where black people have been able to articulate their sense of the world in a profound manner. And I see this primarily in popular culture. Why not in highbrow culture? Because the access has been so difficult. Why not in more academic forms? Because academic exclusion has been the rule for so long for large numbers of black people that black culture, for me, becomes a search for where black people have left their imprint and fundamentally made a difference in terms of how certain art forms are understood. This is currently in popular culture. And it has been primarily in music, religion, visual arts and fashion.
Cornel West
One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.. ..Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with [Fernand] Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so.
Asger Jorn