Representation Quotes - page 4
Have you ever heard of anything more stupid than 'abstraction-abstraction'? and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself.
Joan Miró
I want so much for my work to grow forth out of the material, just as in nature the plants grow forth out of the earth, which corresponds to their character. In the print 'Lebensfreude' [Joy of living] I worked for the most part with my finger, and the effect I hoped for was achieved. There is hidden in the print a bit of wantonness, in the representation as well as in the boldness of the technique. If I were to make the "ragged and moving" contours "correctly" in the academic sense, this effect would not nearly be achieved.
Emil Nolde
I made the flames lick the surface of the painting in such a way that is recorded the spontaneous traces of the fire. But what is it that provokes in me this pursuit of the impression of fire? Why must I search for its traces? Because every work of creation, quite apart from its cosmic position, is the representation of pure phenomenology – every phenomenon manifests itself of its own accord. This manifestation is always distinct from form, and is the essence of the immediate, the trace of the immediate.
Yves Klein
What is meant by "the representation of space"? What distinguishes one representation from another? Does this mean "how does one see that one thing is not another thing?" What constitutes a change of focus?... What about "another way of establishing (?) "thingness"? "Something" can be either one thing or another (without turning the rabbit on its side)..
Jasper Johns
My friend Bonner has just set off to Charlotte Street to pack your picture (an old painting) and forward it; it is a beautiful representation of a summer's evening; calm, warm and delicious; the colour on the man's face is perfect sunshine. The liquid pencil of this school is replete with a beauty peculiar to itself. Nevertheless, I don't believe they had any 'nostrums,' but plain linseed oil; 'honest linseed' as old Wilson called it. But it is always right to remember that the ordinary painters of that day used, as now, the same vehicle as their betters, and also that their works have all received the hardening and enamelling effects of time, so that we must not judge of originality by these signs always.
John Constable
Towards the end of 1958, I greatly increased.. ..the works done with what is called poor material. I felt the need to persist and go deeper with the entire message of what is insignificant, worn or dramatised by time.. .In fact, it was the most conscious resumption of subjects that had often attracted me. In my research, I had discovered this material, one I find loaded with strange suggestions, which is cardboard. A grey, anonymous material that won't be easily manipulated, for which very reason the slightest mark of the hand torments it and destroys it. But the piece of cardboard, the box, the lid, the tray.. ..dirty clothes (socks, T-shirt, underpants...), old furniture, everyday objects; not used as a representation or theme in the picture but as real bodies, objects.
Antoni Tàpies
Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual.
Theo van Doesburg
There ought to be a great effort of the Liberal party to extend the labour representation in Parliament. .... And we affirm that it is among the high and indispensable duties of the party...to proceed to provide for the establishment of district councils and parish councils, and thereby to bring self-government to the very doors of the labouring men throughout the country. Further, I will add boldly that it will be their duty to enact compulsory powers for the purpose of enabling suitable bodies to acquire land upon fair and suitable terms, in order to place the rural population in nearer relations to the land, to the use and profit of the land which they have so long tilled for the benefit of others, but for themselves almost in vain.
William Ewart Gladstone
[question: How do you interpret your role as a painter in our society?] As a role that everyone has. I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.
Gerhard Richter
Everyone's decrying tribalism, and yet the idea that we should rejigger the constitutional order to make sure that Asian Americans in California have the same "representation” in the Senate as Hispanics in, say, Texas or Rhode Island is profoundly tribal. Maybe Hispanics in Texas have different political interests than Hispanics in California? Maybe Hispanics - an incredibly diverse category of people - don't vote based upon an abstract designation?
Jonah Goldberg
The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity.
Whitney Chadwick
In this country political agitation is not likely to be soon lulled. We shall have no violence, I think, except in Ireland, and even there I hope appearances are rather less threatening than were supposed a short time ago. But we shall have, and ought to have, a powerful agitation in favour of a real Parliamentary Reform, and to gain this would be worth some time longer of commercial depression. We have deluded ourselves with the notion that we are a free people, and have a good government and a representative system, whilst in fact our representative system is for the most part a sham, and the forms of representation are used to consolidate the supremacy of the titled and proprietary class. All this will break down by and by. From all parts of the country we hear of preliminary meetings and new organisations, Associations and Leagues, etc. The middle and working classes are beginning to see that united they may win all they require; divided they are a prey to their insatiable enemies.
John Bright
At present no Government dare say a word to the Church-that overgrown and monstrous abuse assumes airs as if it were not an abuse. It is a wen upon the head and pretends to be the head, and no administration is strong enough to say a word against it. With 14,000 Dissenting Chapels in England and Wales, with two-thirds of Scotland in dissenting ranks, with five-sixths of Ireland hostile to the Church, how comes it that this scandalous abuse puts on the character of a national and useful institution? Simply because it has the Crown and the Peers on its side by tradition and the constitution, and has gained great power in the Commons thro' our defective representation. Let the representation be amended, and then the Church will be more humble, and will submit, of necessity, to be overhauled as one of the departments of the State.
John Bright
In view of the dramatic effects that alternative representations may produce on search and recognition processes, it may seem surprising that the differential effects on inference appear less strong. Inference is largely independent of representation if the information content of the two sets of inference rules [one operating on diagrams and the other operating on verbal statements] is equivalent-i.e. the two sets are isomorphs as they are in our examples.
Herbert Simon
Literary works do not take as their subjects characters and events which have impressed a writer primarily by the frequency of their appearance. For example, how many Jewish men, as we know them, have come nearly to the brink of plunging a knife into their only son because they believed God had commanded them to? The story of Abraham and Isaac derives its meaning from something other than its being a familiar, recognizable, everyday occurrence. The test of any literary work is not how broad is its range of representation - for all that breadth may be characteristic of a kind of narrative - but the depth with which the writer reveals whatever it may be that he has chosen to represent.
Philip Roth
Nothing can be more untrue than to pretend that the general religious mind of India has not at all grasped the higher spiritual or metaphysical truths of Indian religion. It is a sheer falsehood or a wilful misunderstanding to say that it has lived always in the externals only of rite and creed and shibboleth. On the contrary, the main metaphysical truths of Indian religious philosophy in their broad idea-aspects or in an intensely poetic and dynamic representation have been stamped on the general mind of the people. The ideas of Maya, Lila, divine Immanence are as familiar to the man in the street and the worshipper in the temple as to the philosopher in his seclusion, the monk in his monastery and the saint in his hermitage. The spiritual reality which they reflect, the profound experience to which they point, has permeated the religion, the literature, the art, even the popular religious songs of a whole people.
Sri Aurobindo