“Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital…”

— Hans Hofmann

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

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Hans Hofmann 67

American artist 1880–1966

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

“To me the most important thing [in a picture] is roundness captured in height and breadth. Roundness in the plane, depth in the feeling of the plane.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Quote from Schopferische Konfession (Creative credo) of 1918; first published in 'Tribune der Kunst und Zeit', no. 13 (1920): 66; for an English translation, see Victor H. Miesel, ed. Voices of German Expressionism, (Englewood Cliffs, N.J.: Prentice Hall, 1970); 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. 101
1900s - 1920s

“My aim is always to get hold of the magic of reality and to transfer this reality in painting – to make the invisible visible through reality... What helps me most in this task is the penetration of space. Height, width and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space. My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), p. 12

“Nor do such theories provide a ready account for the equivalence of the slopes of the reaction-time functions for the picture-plane and depth pairs. For, in order to explain the dependence of reaction time on angular difference, we must suppose that the features that are being compared are the features of the two-dimensional drawings, which differ more and more with angular departure, and not the features of the three-dimensional objects, which are the same regardless of orientation.”

Roger Shepard (1929) American psychologist

Source: Mental images and their transformations. 1982, p. 66; as cited in Niall (1997)

“Simultaneousness' is a technique. Simultaneous contrast is the most up-to-date honey of this technique in this field. Simultaneous contrast is visible depth – Reality, Form, construction, representation. Depth is the new inspiration. We live in depth, we travel in depth. I’m in it. The senses are in it. And the mind is too.”

Robert Delaunay (1885–1941) French painter

Quote in Delaunay's text 'Simultanism', October 1913; as cited in Futurism, ed. by Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 57
1910 - 1915