“The impressions we receive, which often appear merely chaotic, consist of three elements; the impression of the color of the object, its form, and of its combined color and form, i. e., of the object itself. At this point the individuality of the artist comes to the front and disposes, as he wills, these three elements. It is clear, therefore, that the choice of object (i. e., of one of the elements in the harmony of form) must be decided only by a corresponding vibration in the human soul..”

— Wassily Kandinsky

Quote of Kandinsky, Munich, 1910; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 450
1910 - 1915

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "The impressions we receive, which often appear merely chaotic, consist of three elements; the impression of the color o…" by Wassily Kandinsky?

Wassily Kandinsky 68

Russian painter 1866–1944

Related quotes

“The era that humanity has entered is an era of industrial development and therefore the organisation of artistic elements must be applied to the design of the material elements of everyday life, i. e. to industry or to so-called production. The new industrial production, in which artistic creativity must participate, will differ radically from the traditional aesthetic approach to the object, in that primarily attention will be focused not on the artistic decoration of the object (applied art), but on the artistic organisation of the object in accordance with the principles of creating the most utilitarian object.... If any of the different types of fine art (i. e., easel painting, drawing, engraving, sculpture, etc.) can still retain some purpose, they will do so only * 1. while they remain as the laboratory phase in our search for essential new forms * 2. insofar as they serve as supportive projects and schemes for constructions and utilitarian and industrially manufactured objects that have yet to be realised”

Lyubov Popova (1889–1924) Russian artist

Liubov Popova, untitled manuscript, signed and dated December 1921, Manuscript Department, State Tretjakov Gallery, Moscow, (fond 148, op.17, l. 3–4); transl. John Bowlt; the same text is reproduced in Women Artists of the Russian Avant-Garde 1910–1930, Cologne 1979, p. 68

“We must also point out that it is precisely the metaphysical element of painting that provokes the creation of a physical substance that corresponds to its necessities, a material that permits the metaphysical element to manifest itself in the painted form it desires.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Cirico's text 'A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT', 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542
1920s and later

“He unveils Himself as the One He is by veiling Himself in a form which He Himself is not. He uses this form distinct from Himself, He uses its work and sign, in order to be objective in, with and under this form, and therefore to give Himself to us to be known. Revelation means the giving of signs. We can say quite simply that revelation means sacrament, i. e., the self-witness of God, the representation of His truth, and therefore of the truth in which He knows Himself, in the form of creaturely objectivity and therefore in a form which is adapted to our creaturely knowledge.”

Karl Barth book Church Dogmatics

2:1
Church Dogmatics (1932–1968)

“The tendency of our perceptions is to emphasise increasingly the objective elements in an impression, unless we have some special reason, as artists have, for doing the opposite.”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

An Outline of Philosophy Ch.15 The Nature of our Knowledge of Physics (1927)
1920s

“The more freely abstract the form becomes, the purer, and also the more primitive it sounds. Therefore, in a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completely abstracted... Here we are confronted by the question: Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract? This is a question that naturally arises, the answer to which is at once indicated by an analysis of the concordance of the two elements of form (the objective and the abstract). Just as every word spoken (tree, sky, man) awakens an inner vibration, so too does every pictorially represented object. To deprive oneself of the possibility of this calling up vibrations would be to narrow one's arsenal of expressive means. At least, that is how it is today. But apart from today's answer, the above question receives the eternal answer to every question in art that begins with 'must.”

Wassily Kandinsky (1866–1944) Russian painter

There is no 'must' in art, which is forever free.
Quote from: Kandinsky: Complete Writings on Art, eds. Kenneth C. Lindsay and Peter Vergo, 2 Vols. (transl. Peter Vergo); Boston: G.K. Hall & Co., (1982), p. 195; as cited in: Samet, Jennifer Sachs. Painterly Representation in New York, 1945-1975. Dissertation, The City University of New York, 2010. p. 25
1910 - 1915

“Dear August... I want to start like a child, to express my impression in front of nature with three colors and a few lines, and then add to forms and colors, where it requires the expression, that the working process is only a dedication, and never a removal. Only we painters know how stupidly difficult this is.”

Franz Marc (1880–1916) German painter

1911 - 1914

“The truth is that the mathematical sciences are growing in complete security and harmony. The ideas of Dedekind, Poincare, and Hilbert have been systematically developed with great success, without any conflict in the results. It is only from the philosophical point of view that objections have been raised. They bear on certain ways of reasoning peculiar to analysis and set theory. These modes of reasoning were first systematically applied in giving a rigorous form to the methods of the calculus. [According to them, ] the objects of a theory are viewed as elements of a totality such that one can reason as follows: For each property expressible using the notions of the theory, it is [an] objectively determinate [fact] whether there is or there is not an element of the totality which possesses this property. Similarly, it follows from this point of view that either all the elements of a set possess a given property, or there is at least one element which does not possess it”

Paul Bernays (1888–1977) Swiss mathematician

Paul Bernays, Platonism in mathematics http://sites.google.com/site/ancientaroma2/book_platonism.pdf (1935)

“It must not be supposed that the subjective elements are any less 'real' than the objective elements; they are only less important… because they do not point to anything beyond ourselves…”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

An Outline of Philosophy Ch.15 The Nature of our Knowledge of Physics (1927)
1920s

“Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, p. 25
Quotes of Fernand Leger, 1920's

“The dignity of history consists in reciting events with truth and accuracy, and in presenting human agents and their actions in an interesting and instructive form. The first element in history, therefore, is truthfulness; and this truthfulness must be displayed in a concrete form.”

Daniel Webster (1782–1852) Leading American senator and statesman. January 18, 1782 – October 24, 1852. Served as the Secretary of Sta…

The Dignity and Importance of History http://www.dartmouth.edu/~dwebster/speeches/dignity-history.html (23 February 1852)

Help us to complete the source, original and additional information

Wassily Kandinsky 68

Related quotes

Related topics