“Before, the wire studies were subjective, portraits, caricatures, stylized representations of beasts and humans. But these recent things have been viewed from a more objective angle and although their present size is diminutive, I feel that there is no limitation to the scale to which they can be enlarged... One of the canons of the futuristic painters, as propounded by Modigliani, was that objects behind other objects should not be lost to view, but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner.”

1920s, Excerpt, Statement on Wire Sculpture (1929)

"Subjective and Objective," in Mortal Questions, Cambridge University Press, 1979, p. 196.

Source: Psychology and the Human Dilemma (1967), p. 20
Context: I have described the human dilemma as the capacity of man to view himself as object and as subject. My point is that both are necessary — necessary for psychological science, for effective therapy, and for meaningful living. I am also proposing that in the dialectical process between these two poles lies the development, and the deepening and widening, of human consciousness. The error on both sides — for which I have used Skinner and the pre-paradox Rogers as examples — is the assumption that one can avoid the dilemma by taking one of its poles. It is not simply that man must learn to live with the paradox — the human being has always lived in this paradox or dilemma, from the time that he first became aware of the fact that he was the one who would die and coined a word for his own death. Illness, limitations of all sorts, and every aspect of our biological state we have indicated are aspects of the deterministic side of the dilemma — man is like the grass of the field, it withereth. The awareness of this, and the acting on this awareness, is the genius of man the subject. But we must also take the implications of this dilemma into our psychological theory. Between the two horns of this dilemma, man has developed symbols, art, language, and the kind of science which is always expanding in its own presuppositions. The courageous living within this dilemma, I believe, is the source of human creativity.

From Gibbs's letter accepting the Rumford Medal (1881). Quoted in A. L. Mackay, Dictionary of Scientific Quotations (London, 1994).

Carlo Carrà's art statement on Futurism in 1913, as quoted in Abstract Art Anna Moszynska, Thames and Hudson 1990, p. 26
1910's

Source: Science and Sanity (1933), p. 20.
Context: The only link between the verbal and objective world is exclusively structural, necessitating the conclusion that the only content of all "knowledge" is structural. Now structure can be considered as a complex of relations, and ultimately as multi-dimensional order. From this point of view, all language can be considered as names for unspeakable entities on the objective level, be it things or feelings, or as names of relations. In fact... we find that an object represents an abstraction of a low order produced by our nervous system as the result of a sub-microscopic events acting as stimuli upon the nervous system.

Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248

Cubism was born

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