“By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.”

— Kazimir Malevich

Quote of Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art
1921 - 1930

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Kazimir Malevich 31

Russian and Soviet artist of polish descent 1879–1935

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“By Suprematism I mean the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 67
1921 - 1930

“The representation of an object, in itself (the objectivity as the aim of the representation), is something that has nothing to do with art, although the use of representation in a work of art does not rule out the possibility of its being of a high artistic order. For the Suprematist, therefore, the proper means is the one that provides the fullest expression of pure feeling and ignores the habitually accepted object. The object in itself is meaningless to him; and the ideas of the conscious mind are worthless. Feeling is the decisive factor.... and thus art arrives at non-objective representation – at Suprematism.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, 1927 in Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 452
1921 - 1930

“It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing’ from the logical point of view.... should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint.”

Giorgio de Chirico (1888–1978) Italian artist

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 232
1908 - 1920, On Mystery and Creation, Paris 1913

“I believe that new art must differ totally in its manifestation from art as we know it, and people may be very reluctant to accept this. It is perhaps true to say, as someone did of cubism, that 'To sum up: since art is a need to create rather than imitate, the 'cubists' rousing themselves from the sentimentality born of the picturesque aspect of some natural spectacle or other, disengage the fleeting aspects from those which are constant and absolute, and with the aid of these two elements, construct a reality equivalent to that which they see before them'. Thus it is a question of finding the true equivalence (that, offered by Cubism is still not true equivalence), and this can only be 'that which is not nature at all, and is nonetheless one with nature”

Piet Mondrian (1872–1944) Peintre Néerlandais

like in Neo-Plasticism / De Stijl
Quote in Mondrian's letter to Lodewijk van Deyssel (who reacted as Dutch art critic on Mondrians essay: 'Le Néo-plasticisme'] Paris, February 1921; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 136
1920's

“It took me a long time to discover that particularities of form and natural colour evoke subjective states of feeling which obscure pure reality. The appearance of natural forms changes, but reality remains. To create pure reality plasticity, it is necessary to reduce natural forms to constant elements of form, and natural colour to primary colour. The aim is not to create other particular forms and colours, with all their limitations, but to work toward abolishing them in the interest of a larger unity.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Later Quote of Mondrian, about 1910-1914; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 42

“Dimensionless constants in the laws of nature, which from the purely logical point of view can just as well have different values, should not exist.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

German orgiginal: Dimensionslose Konstanten in den Naturgesetzen, die vom rein logischen Standpunkt aus ebensogut andere Werte haben können, dürfte es nicht geben.
As quoted in Begegnungen mit Einstein, von Laue, und Planck (1988) by Ilse Rosenthal-Schneider, p. 31, English edition Reality and Scientific Truth : Discussions with Einstein, von Laue, and Planck (1980) by Ilse Rosenthal-Schneider
Attributed in posthumous publications

“to study the nude, the foundation of all pictorial art, in total freedom and naturalness. From.... this basis there emerged the feeling, shared by all, of taking creative stimulus from life itself and submitting to the decisive experience.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Kirchner, in 'Chronik KG Brücke', 1913; a quoted by Wolf-Dieter Dube, Der Expressionismus in Wort und Bild (Genf and Stuttgart: Skira, Klett-Cotta, 1983), p. 34; as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 68
1905 - 1915

“By far the most valuable things, which we know or can imagine, are certain states of consciousness, which may roughly be described as the pleasures of human intercourse and the enjoyment of beautiful objects. No one, probably, who has asked himself the question, has ever doubted that personal affection and the appreciation of what is beautiful in Art or Nature, are good in themselves; nor, if we consider strictly what things are worth having purely for their own sakes, does it appear probable that any one will think that anything else has nearly so much value as the things which are included under these two heads.”

G. E. Moore book Principia Ethica

Principia Ethica (1903; revised edition, Cambridge University Press, 1993).

“Second is the argument from meaning:
# According to Dr. Rosenberg, if naturalism is true then no sentence has any meaning. And he says that all the sentences in his own book are in fact meaningless.
# But, premise (1) has meaning. We all understood it.
# Therefore, naturalism is not true.”

William Lane Craig (1949) American Christian apologist and evangelist

“The work of art should be entirely conceived and formed by the mind before its execution. It should receive nothing from Nature’s formal properties or from sensuality or sentimentality... The picture should be constructed entirely from purely plastic elements, that is to say, planes and colours. A pictorial element has no other significance than 'itself', and therefore the picture has no other significance than 'itself.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from the first and only! issue of the art-magazine 'Art Concret', Paris 1930
1926 – 1931

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