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

— Georges Braque

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

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Georges Braque 43

French painter and sculptor 1882–1963

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“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.”

Georges Braque (1882–1963) French painter and sculptor

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

“The concept of space is not abstracted from external sensations.”

Immanuel Kant (1724–1804) German philosopher

Kant's Inaugural Dissertation (1770), Section III On The Principles Of The Form Of The Sensible World

“The concept of space, therefore, is a pure intuition, being a singular concept, not made up by sensations, but itself the fundamental form of all external sensation.”

Immanuel Kant (1724–1804) German philosopher

Kant's Inaugural Dissertation (1770), Section III On The Principles Of The Form Of The Sensible World

“An art mode, new or old, is for the creative mind essentially a point of beginning. Content is brought into being by the activity through which the artist translates the movement into himself. In such an appropriation, there is no difference between an ongoing movement and one that is finished. During the reign of Minimalism, a painter might realize the new through Impressionism. That art history has a schedule of continuous advances en masse is a fantasy of the historian. The shared syntax of art movements is constantly replaced by the sensibility and practice of individuals. The avant-garde art of yesterday is the only modern equivalent of an aesthetic tradition. The fading of the ideas of a movement does not mean that it can no longer be a stimulus to creation. At the very dawn of a movement, the work of its artists commences to replace the concept; instead of Cubism there appear Picasso, Braque, Gris. Compared to the activities to which they give rise, ideas in art have a brief life. In the last analysis, the vitality of art in our time depends on works produced by movements after they have died.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 230, Art on the Edge (1975) "Shall These Bones Live?: Art Movement Ghosts"

“I felt it necessary to evolve entirely new concepts (of form and space and paintings) and postulate them in an instrument that could continue to shake itself free from dialectical perversions. The dominant ones, Cubism and Expressionism, only reflected the attitudes of power or spiritual debasement of the individual.”

Clyfford Still (1904–1980) American artist

Clyfford Still, interview with Ti Grace Sharpless, 1963; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 200
1960s