“Colour came into its own with papiers collés.... with these works we [Braque, and a little later Picasso, started to make 'collage art', circa 1912] succeeded in dissociating colour from form, in putting it on a footing independent of form, for that was the crux of the matter. Colour acts simultaneously with form, but has nothing to do with form.”

Source: posthumous quotes, Braque', (1968), p. 75

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Georges Braque43

French painter and sculptor 1882–1963

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“We wanted a complementarity of form and colour. So we made a synthesis of analyses of colour (the divisionism of Seurat, Signac and Cross) and analyses of form”

Umberto Boccioni (1882–1916) Italian painter and sculptor

of Picasso and Georges Braque
In 'Dynanisme plastique' 1914, Boccioni; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 134
1914 - 1916

“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

“We perceive nature through the senses, which give us images of forms of colour, sounds etc. A form which exists only in relation to another form on its own, it does not exist.”

Édouard Vuillard (1868–1940) French painter

11 Nov 1888.
Private Journal - A collage of notes and images, sketches kept 1888-1895 & 1907 to 1940

“You reason colour more than you reason drawing Colour has a logic as severe as form.”

Pierre Bonnard (1867–1947) French painter and printmaker

“Colour could give rise to sensations which would interfere with our [Braque & Picasso's, in the start of Cubism] conception of space.”

Georges Braque (1882–1963) French painter and sculptor

Source: posthumous quotes, Braque', (1968), p. 55

“If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Concerning the Spiritual in Art, Wassily Kandinsky, Munich, 1912; as cited in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 15
1910 - 1915

“.. in my ideal of a good painting; there's unity. The drawing and the colour are no longer distinct; as soon as you paint you draw; the more the colours harmonize, the more precise the drawing becomes. I know that from experience. When the colour is at its richest, the form is at its fullest.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 221 in: 'What he told me – III. The Studio'

“Public opinion, in its raw state, gushes out in the immemorial form of the mob's fear. It is piped into central factories, and there it is flavoured and coloured and put into cans.”

H.L. Mencken book Notes on Democracy

1920s
Source: Notes on Democracy (1926)

“For a long time I limited myself to one colour — as a form of discipline.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

quoted in Picasso on Art (1988), ed. Dore Ashton
quote on Picasso's 'Blue' and 'Rose' periods
Attributed from posthumous publications

“Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.”

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

Source: 1930s, On my Painting (1938), pp. 18-19

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Georges Braque43

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