This is what happens, unquestionably – I am positive: an optical sensation is produced in our visual organ, which leads us classify as light, half-tone or quarter-tone, the planes represented by sensations of color. [Thus the light does not exist for the painter]. As long as, inevitably, one proceeds from black to white, the former of these abstractions being a kind of point of rest both for eye and brain, we flounder about, we cannot achieve self-mastery, get possession of ourselves. During this period (I tend to repeat myself, inevitably) we turn to the admirable works [of the five great Venetian painters a. o. Titian and Tintoretto] handed down to us through the ages, in which we find comfort and support...
Paul CézanneRelated topics
black brain color comfort eye find five flounder great kind light optical point possession rest sensation support thus turn venetian visual white works self-mastery titianRelated quotes
We are totally opposed to the concept of multi-racialism because it assumes in the first instance that people have got to be arranged in compartments based on colour... you have Europeans in one compartment, Asians and coloureds in two other compartments and Africans in another compartment... And immediately you talk of multi-racialism, you are accepting as a starting point that the races are different and this difference must be recognised. We are non-racialist in our approach and that everybody must be accorded his full political rights – whether he white or black, educated or uneducated, rich or poor. And this is why we are at the moment struggling to earn for our people one-man-one-vote.
Robert Mugabe
I have not built any theory. I have only tried to build up sensitive eyes, as my book says. And I have tried to achieve that by aiming at very distinct color relationships again – like how do they influence each other? Change each other in light and in intensity, in transparency, opacity? How do they change each other in all different directions? That we make all the students aware, through experience, that color is the most relative medium in art, and that we never really see what we see. All neighboring means which occur every minute different, not only in changing light but also by our changing moods. And in the end, the study of color again is a study of ourselves.
Josef Albers
The period during the First World War was a very exciting time in Paris, with artists, philosophers, and poets continually discussing and arguing about the work with which they were involved. Although I myself am little concerned with abstract theory, I certainly do think of cubism as a form of emancipation essentially different from artistic movements that had preceded it. Thus, impressionism, while it was a revolutionary technique, was still an essentially naturalistic movement concerned with a precise examination of the nature of light and the effect of changing lights on representational scenes and objects. Cubism did add a new dimension to painting and sculpture, a dimension that changed our way of looking at nature and the work of art.
Jacques Lipchitz
Suppose a surface to be part red and part blue; so that every point on it is either red or blue, and of course, no part can be both red and blue. What then, is the color of the surface in the immediate neighborhood of the point. ...it follows that the boundary is half red and half blue. In like manner, we find it necessary to hold that consciousness essentially occupies time... Thus, the present is half past and half time to come. ...Take another case: the velocity of a particle at any instant of time is its mean velocity during an infinitesimal instant in which that time is consumed. Just so, my immediate feeling is my feeling through an infinitesimal duration containing the present instant.
Charles Sanders Peirce
Out of the savage tribe grew up the barbarian village community; and a new, still wider, circle of social customs, habits, and institutions, numbers of which are still alive among ourselves, was developed under the principles of common possession of a given territory and common defence of it, under the jurisdiction of the village folkmote, and in the federation of villages belonging, or supposed to belong, to one stem. And when new requirements induced men to make a new start, they made it in the city, which represented a double network of territorial units (village communities) connected with guilds, these latter arising out of the common prosecution of a given art or craft, or for mutual support and defence.
Peter Kropotkin