I believe that it is possible by means of horizontal and vertical lines, constructed 'consciously' but not 'calculating', guided by a higher intuition and brought to harmony and rhythm – I believe that these fundamental aesthetic shapes – where necessary supplemented by lines in other directions or curved lines, make it possible to arrive at a work of art which is as strong as it is true. For anyone who sees more deeply, there is nothing vague about this; it is only vague for the superficial observer of nature. And 'chance' must be as far removed as 'calculation'. And for the rest it seems to me that it is necessary to keep breaking off the horizontal or vertical line: for if these directions were not countered by others, they would themselves come to signify something 'specific' and thus human.
Piet MondrianRelated topics
aesthetic anyone arrive art believe breaking calculating chance far fundamental harmony horizontal human intuition line nature necessary nothing observer off possible rest something specific superficial thus vague vertical work means others higherRelated quotes
The disharmoniousness (one might say, the negative rhythm) of the individual forms was that which primarily drew me, attracted me, during the period to which this watercolor belongs. The so-called rhythmic always comes on its own because in general the person himself is rhythmically built. Thus at least on the surface, the rhythmic is innate in people. Children, 'primitive' peoples, and laymen draw rhythmically..
In that period my soul was especially enchanted by the not-fitting-together of drawn and painterly form. Line serves the plane in that the former bounds the latter. And it makes my heart race in those cases when the independent plane springs over the confining line: line and plane are not in tune! It was this that produced a strong inner emotion in me, the inner 'ah!
Wassily Kandinsky
I will give you another scripture, Jer. 46. 27, 28 - out of which the Lord shewed me what he would do for me and the rest of his servants. - But after he was pleased to reveal himself to me . . . Ever since that time I have been confident of what he hath revealed unto me. . . Therefore I desire you to look to it, for you see this scripture fulfilled this day and therefore I desire you that as you tender the Lord and the church and commonwealth to consider and look what you do. You have power over my body but the Lord Jesus hath power over my body and soul, and assure yourselves thus much, you do as much as in you lies to put the Lord Jesus Christ from you, and if you go on in this course you begin you will I bring a curse upon you and your posterity, and the mouth of the Lord hath spoken it. . .
Anne Hutchinson
Everyone who wishes to help bring the world out of the economic woes will line up to get a chip implanted! It's safe, simple and already available. It's been tested on animals for years. One little chip under the skin and everyone can be identified and conduct business electronically! No more theft, bad checks, waiting for checks to clear, stolen credit cards, armored cars, stolen ID, waiting lines at stores or airports, etc. Just little archways to walk through that can quickly scan who you are and automatically deduct the "cash” from your account or verify your identity! Simple! Anyone who resists this "obvious solution” will be an enemy of the state. Oh, and one more minor insignificant thing. No more privacy or independence. Big brother will be watching everything.
Kent Hovind
Today every child knows what Merz is. But what is 'i'? I is the middle vowel of the alphabet and the designation for the consequence of Merz in relation to an intensive apprehension of the art form. For the shaping of the work of art Merz uses large ready-made complexes that count as material, to shorten as much as possible the path leading from the intuition to the actualization (Sichtbarmachung) of the artistic idea, so as to avoid heat loss through friction. i defines this path as o (i setzt diesen Weg = null). Idea, material, and work of art are the same. i apprehends the work of art in nature. Here the artistic shaping is the recognition of rhythm and expression in a part of nature. Thus, no loss through friction i. e., no disturbing distraction during creation occurs here.
Kurt Schwitters
For what advantage is it, that the world enjoys profound peace, if thou art at war with thyself? This then is the peace we should keep. If we have it, nothing from without will be able to harm us. And to this end the public peace contributes no little: whence it is said, ‘That we may lead a quiet and peaceable life.' But if any one is disturbed when there is quiet, he is a miserable creature. Seest thou that He speaks of this peace which I call the third (inner, ed.) kind? Therefore when he has said, ‘that we may lead a quiet and peaceable life,' he does not stop there, but adds ‘in all godliness and honesty.' But we cannot live in godliness and honesty, unless that peace be established. For when curious reasonings disturb our faith, what peace is there? or when spirits of uncleanness, what peace is there?
John Chrysostom