“The relationship of volumes, lines, and colors demands absolute orchestration and order. These values are all unquestionable influential; they have extended into modern objects such as airplanes, automobiles, farm machines, etc. Today we are in competition with the 'beautiful object'; it is undeniable. Sometimes its plastic qualities make it beautiful in itself and consequently unusable; one can only fold one's arms and admire it. There is also today an astonishing art of window display. Certain store windows are highly organized spectacles... If, pushing things to extremes, the majority of manufactured objects and 'stored spectacles' were beautiful and had plasticity, we artists would no longer have any reason to exist.”

— Fernand Léger

Quote from 'Notes on Contemporary Plastic Life', in '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, pp. 24-25
Quotes of Fernand Leger, 1920's

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Fernand Léger 42

French painter 1881–1955

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“A beautiful object has no intrinsic quality that is good for the mind, nor an ugly object any intrinsic power to harm it. Beautiful and ugly are just projections of the mind. The ability to cause happiness or suffering is not a property of the outer object itself. For example, the sight of a particular individual can cause happiness to one person and suffering to another. It is the mind that attributes such qualities to the perceived object.”

Dilgo Khyentse (1910–1991) Bhutanese Buddhist Lama

“[a new order].. independent of the values of the feelings, and the description and imitation of nature... The value of technique beauty without artistic intention resides in its organism and can be deducted at the same time by its geometric ambitions. I can therefore speak of a new order: the architecture of the technical world. Since the industrial object belongs to the architectonic order, it is assigned an important role in today's artistic creation.”

Fernand Léger (1881–1955) French painter

Quote from Leger's lecture "The aesthetics of the machine", in Paris, June 1924; as quoted by Paul Westheim in Confessions of Artists. - Letters, Memoirs and Observations of Contemporary Artists; Propyläen Publishing House, Berlin, 1925, p. 324; cited in Review by Francesco Mazzaferro http://letteraturaartistica.blogspot.nl/2016/03/paul-westheim1717.html
Quotes of Fernand Leger, 1920's

“The most perfectly constructed object in nature, and also the most beautiful object in nature, is the human form as it approaches perfection. This, then, is the criterion of construction as it is of design. The study of its beauties is the veritable key to art…”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)

“It's sad and frustrating that we are surrounded by products that seem to testify to a complete lack of care. That's an interesting thing about an object. One object speaks volumes about the company that produced it and its values and priorities.”

Jonathan Ive (1967) English designer and VP of Design at Apple

In an interview in The Daily Telegraph newspaper (November 2005)

“The beautiful is not that which we love and because we love it, but that which by its objective value obliges us to love it.”

Frithjof Schuon (1907–1998) Swiss philosopher

[2006, Sufism: Veil and Quintessence, World Wisdom, 96, 978-1-933316-28-4]
God, Beauty

“The new plastic idea thus correctly represents actual aesthetic relationships. To the modern artist, it is a natural consequence of all the plastic ideas of the past. This is particularly true of painting, which is the art least bound to contingencies. The picture can be a pure reflection of life in its deepest essence.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

“For making bread, shoes, ploughs, farming, running a streetcar, one must be specialized. Is there no need for specialization when it comes to the most demanding leadership, that of a nation? Does one not have to possess certain qualities?”

Corneliu Zelea Codreanu (1899–1938) Romanian politician

For My Legionaries: The Iron Guard (1936), Politics

“Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual.”

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

Quote from 'Eenheid' [Dutch art-magazine] no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, pp. 105–106
1912 – 1919

“We have had enough perpetually hearing MACHINE MACHINE MACHINE MACHINE. In the repetition of the word MACHINE, we read the modern artist's ambivalent relationship to mechanical reproduction: on the one hand, the rigorous linear order and uniform application of ink presented by the thrice-repeated type written line celebrates sterility; and on the other hand the content of the sentence itself bemoans the transformation of the industrial paradigm into an aesthetic cliché.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

statement of Lissitzky, 1924; as quoted by Paul Galvez, in 'Self-Portrait of the Artist as a Monkey-Hand October', Vol. 93, (Summer, 2000), published by The MIT Press, pp. 109-137
1915 - 1925

“Content is nothing but the sum of organized tensions. From this point of view one can discover the basic identity of the rules of composition in all arts – always accepting that the arts can only represent their object materially by means of organised reactions.... already today one can safely assume that the roots of laws of composition are the same for art as they are for nature.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from: 'Analysis of the Primary Elements of Painting', W. Kandinsky, 1928
1920 - 1930

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