We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple.. .The method of expression relies on the optical mixture of tones, tints and their reactions (shadows that follow very strict rules).
Paul SignacRelated topics
art biographer complementary cross dark follow green harmony light line mean optical read red seen speak tint Rules SeuratRelated quotes
The Alfa Romeo GTV6 had the worst gearbox I've ever encountered, and the worst driving position and the worst record for reliability. Nevertheless, I bought one. I knew it was a hopeless basket case but I'd become smitten by the noise its engine made: a rumble in the jungle at low revs and almost an eerie howl as it neared the red line. I would put up with the massive bouts of truculence, the deep discomfort and the absurdly heavy steering because no car before, or since, has ever made such a glorious sound. It was music to the enthusiast's ears, like a cross between 'Ode to Joy' and 'Nessun Dorma'.
Jeremy Clarkson
But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..
Franz Kline
Let us watch this de Kooning [leading Abstract-Expressionist painter in New York] with his prematurely white hair making his great sleepwalker's movements, as though he was waiting in a dream to open bays of Biscay, to explode islands like pieces of orange or Parma violets, to tear continents from a cerulean blue split by oceans of Naples yellow.... if by good or by ill fortune, in the middle of this Dionysian demiurg the image of 'The Eternal Feminine should appear.. the least that might have happened to her would be that she should emerge (from all this chaos) wearing nothing but a little make-up.
Salvador Dalí
The natural way of doing this [seeking scientific knowledge or explanation of fact] is to start from the things which are more knowable and obvious to us and proceed towards those which are clearer and more knowable by nature; for the same things are not 'knowable relatively to us' and 'knowable' without qualification. So in the present inquiry we must follow this method and advance from what is more obscure by nature, but clearer to us, towards what is more clear and more knowable by nature. Now what is to us plain and obvious at first is rather confused masses, the elements and principles of which became known to us by later analysis...
Aristotle
It is color, not locally true from the point of view of the stereoscopic realist, but color to suggest any emotion of an ardent temperament. When Paul Mantz saw at the exhibition the violent and inspired sketch of Delacroix.... the 'Barque of Christ' - he turned away from it exclaiming: 'I did not know that one could be so terrible with a little blue and green'. Hokusai wrings the same cry from you [Theo], but he does it by his line, his drawing, when you say in your letter - 'the waves are claws and the ship is caught in them'. Well, if you make the color exact or the drawing exact, it won't give you sensations like that.
Vincent van Gogh