![The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have. (Willem de Kooning)](https://cdn.quotesdtb.com/img/quotes_images_webp/47/willem-de-kooning-aesthetic-446747.webp)
The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.
Willem de KooningRelated topics
aesthetic aesthetics art begin bull came century development few form freeing house idea matter mountain ought paint parallel question saw something state sudden take thought turn vice disagreeingRelated quotes
If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.
James McNeill Whistler
I now began to search for a new path in art [from 1914, with the outbreak of World War 1. ]. It was a major task. I understood that I did not have to paint what I saw, not even what I felt, but only that which lived within me, in my soul. To put it in symbolic terms, it is like this: I felt within myself, within my breast, the keyboard of an organ and I had to make it resonate. And the nature that was in front of me served me only as a prompter. And that was a key that unlocked this organ and made it resonate. In the beginning it was very difficult. But little by little, it became easy for me to use colours and forms to find what was within my soul.
Alexej von Jawlensky
The vision of the artist or the poet is the intermediate determinant between the subject (the person) and the objective pole (the world-waiting-to-be). It will be nonbeing until the poet's struggle brings forth an answer - meaning. The greatness of a poem or a painting is not that it portrays the thing observed or experienced, but that it portrays the artist's or the poet's vision cued off by his encounter with the reality. Hence the poem or the painting is unique, original, never to be duplicated. No matter how many times Monet returned to paint the cathedral at Rouen, each canvas was a new painting expressing a new vision.
Rollo May
In preparing this record, penned by my own hand, of my life and my participation in our great struggles for national existence, human liberty and political equality, I make no pretence to literary merit. The motive that induces me is not authorship. The import of the subject matter of my narrative is my only claim to attention. The statements of facts are a matter of documentary evidence. The comments are my own and show how I saw the matters treated of, whether others saw them in the same light or not. Respectfully dedicating this work to the millions of armed men and devoted women who participated in the great wars of this country, I leave it as a heritage to my wife and son.
Douglas MacArthur
We must now try to sum up, to draw together the threads of what has been said above on the subject of imperialism. Imperialism emerged as the development and direct continuation of the fundamental characteristics of capitalism in general. But capitalism only became capitalist imperialism at a definite and very high stage of its development, when certain of its fundamental characteristics began to change into their opposites, when the features of the epoch of transition from capitalism to a higher social and economic system had taken shape and revealed themselves in all spheres. Economically, the main thing in this process is the displacement of capitalist free competition by capitalist monopoly.
Vladimir Lenin