“What part should nature play in a work of art? Where should the line be drawn? And from the standpoint of practical procedure - should one work directly from nature or merely study and remember it? Too much freedom frightens me, poor imitator that I am, and yet my head is filled with so many images evoked by what I see around me at all times that nature seems insignificant and banal.”

— Paul Sérusier

Quote from a letter to Maurice Dennis, 1889; as quoted by John Rewald in Pierre Bonnard; MoMA - distribution, Simon & Schuster, New York, 1918, p. 14 - note 7

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Paul Sérusier 6

French painter 1864–1927

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“Nature is supposed to become greater to me than people. It ought to speak louder from me. I should feel small in the face of nature's enormity. That is the way Mackensen [her teacher, painter in Worpswede] thinks it should be. That is the alpha and omega of all critique. What I should learn, he says, is a more devout representation of nature. It seems that I let my own insignificant person step to the forefront too much.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 194
1897

“Then [speaking of his loosely figurative work of the 1930's, in Germany] I was still under nature, not that I was imitating it; now [1957] I am above nature. But everything comes from nature, I too am part of nature; my memory comes from nature, too.”

Hans Hofmann (1880–1966) American artist

Quote in: 'Hans Hofmann', Elizabeth Pollet, (interview of his 1957 Whitney Museum exhibition), Arts Magazine, May 1957 (article: 30-33)
1950s

“The creative process lies not in imitating, but in paralleling nature — translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 55
Search for the Real and Other Essays (1948)

“Every great work of art should be considered like any work of nature. First of all from the point of view of its aesthetic reality and then not just from its development and the mastery of its creation but from the standpoint of what has moved and agitated its creator.”

Amedeo Modigliani (1884–1920) Italian painter and sculptor

Attributed without citation at The Art Story http://www.theartstory.org/artist-modigliani-amedeo.htm.

“If we cannot make voluntary and conscious steps in the admirable science of universals, let us see the parts wisely, and infer the genius of nature from the best particulars with a becoming charity. What is best in each kind is an index of what should be the average of that thing. Love shows me the opulence of nature, by disclosing to me in my friend a hidden wealth, and I infer an equal depth of good in every other direction. It is commonly said by farmers that a good pear or apple costs no more time or pains to rear than a poor one; so I would have no work of art, no speech, or action, or thought, or friend, but the best.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1840s, Essays: Second Series (1844), Nominalist and Realist

“Were I called on to define, very briefly, the term "Art," I should call it "the reproduction of what the Senses perceive in Nature through the veil of the soul." The mere imitation, however accurate, of what is in Nature, entitles no man to the sacred name of "Artist".”

Edgar Allan Poe (1809–1849) American author, poet, editor and literary critic

Marginalia http://www.easylit.com/poe/comtext/prose/margin.shtml (November 1844)

“The aim of my work: The study of nature, the love of nature's art, and the need to express what one feels in one's heart.”

Émile Gallé (1846–1904) French glass artist and cabinetmaker

Ecrits pour l'art, ed. Henrietta Galle Paris 1908/Marseille (1980).

“Verily learned to live with constant deception, hiding what he was and what he saw and what he felt and what he did from everyone around him. It was only natural that he should be drawn to the study of law.”

Orson Scott Card (1951) American science fiction novelist

Source: The Tales of Alvin Maker, Alvin Journeyman (1995), Chapter 9.

“One of the things that excited me so much about quantum chromodynamics after the work of Gross and Wilczek and Politzer was that it seemed to provide a rational explanation for what had always been mysterious to me — the fact that there were symmetries, like parity conservation, charge conjugation invariance, and strangeness conservation, that were very good symmetries of the strong and electromagnetic interactions — as far as we knew exact — and yet were not respected by the weak interactions. Why should nature have … symmetries that are symmetries of part of nature but not other parts of nature?”

Steven Weinberg (1933) American theoretical physicist

"Reminiscences of the Standard Model" - Special Colloquium by Steven Weinberg https://www.youtube.com/watch?v=mX2R8-nJhLQ, 17 October 2017, YouTube video at 1:02:17 of 1:39:24

“And then the wish to make compositions with figures. For this I had to make (quickly I thought; in passing), one or two studies from nature, just enough to understand the construction of a head, of a whole figure, and in 1935 I took a model. This study should take, I thought, two weeks and then I could realize my compositions…I worked with the model all day from 1935 to 1940…Nothing was as I imagined. A head, became for me an object completely unknown and without dimensions.”

Alberto Giacometti (1901–1966) Swiss sculptor and painter (1901-1966)

Alberto Giacometti in: Peter Selz, Alberto Giacometti. Museum of Modern Art in collaboration with the Art Institute of Chicago [and others], distributed by Doubleday, 1965. p. 26

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Paul Sérusier 6

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