“.. displacement of bodies in [the] atmosphere [where] two persons form but one plastic unity, rhythmically balanced.”

— Gino Severini

Quote from Severini's catalog entry for his exhibition at the Marlborough Gallery in London in April 1913, reproduced in Archivi del Futurismo, Volume 1., eds. Maria Drudi Gambillo and Teresa Fiori (Rome: De Luca, 1958-68. 2d 1986), p. 116
Severini explains in short the conception behind his painting 'The Bear Dance at the Moulin Rouge', 1913

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Gino Severini28

Italian painter 1883–1966

Walter Russell (1871–1963) American philosopher

The Man who Tapped the Secrets of the Universe

“I feel assured in my mind that your personality will help to soothe the injured souls and bring peace and unity into an atmosphere of mistrust and chaos.”

Rajendra Prasad (1884–1963) Indian political leader

Rabindranath Tagore in appreciation of his efforts to heal the rift between Gandhi and Subashchandra Bose due to ideological differences. He was elected President of the National Congress.
First Citizen

“[jazz and Neo-Plasticism are] highly revolutionary phenomena: they are destructive constructive. They do not destroy the actual content of form, but rather deepen form only in order to elevate it to a new order. They break the bonds of 'form as individuality' in order to make possible a universal unity.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in: 'De Jazz en de Neo-plastiek', Piet Mondriaan, in 'i 10', 1927 pp. 421-427
1920's

“Therefore, why not plastic forms in motion?... one can compose motions.”

Alexander Calder (1898–1976) American artist

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

“The brain is a gland of unity: the brain is one with the body.”

Richard Bergland neuroscientist

The Fabric of Mind (1985)

“Marriage, each of them realized intuitively, was about compromise and forgiveness. It was about balance, where one person complemented the other.”

Nicholas Sparks book The Choice

Travis Parker, Chapter 16, p. 203
Variant: Relationship is about forgiveness and compromise. It is about balance where one person complements each other.
Source: 2000s, The Choice (2007)

“[In Bali] life is a rhythmic, patterned unreality of pleasant, significant movement, centered in one's own body to which all emotions long ago withdrew.”

Margaret Mead (1901–1978) American anthropologist

Source: 1940s, Balinese Character (1942), p. 48

“The disharmoniousness (one might say, the negative rhythm) of the individual forms was that which primarily drew me, attracted me, during the period to which this watercolor belongs. The so-called rhythmic always comes on its own because in general the person himself is rhythmically built. Thus at least on the surface, the rhythmic is innate in people. Children, 'primitive' peoples, and laymen draw rhythmically..
In that period my soul was especially enchanted by the not-fitting-together of drawn and painterly form. Line serves the plane in that the former bounds the latter. And it makes my heart race in those cases when the independent plane springs over the confining line: line and plane are not in tune! It was this that produced a strong inner emotion in me, the inner 'ah!”

Wassily Kandinsky (1866–1944) Russian painter

2 quotes from Kandinsky's letter to Hans Arp, November 1912; in Friedel, Wassily Kandinsky, p. 489; as cited in Negative Rhythm: Intersections Between Arp, Kandinsky, Münter, and Taeuber, Bibiana K. Obler (including transl. - Yale University Press, 2014 <br class="br">Kandinsky was trying to explain to Arp his state of mind when he made his sketch for 'Improvisation with Horses' https://upload.wikimedia.org/wikipedia/commons/c/ce/Wassily_Kandinsky_Cossacks_or_Cosaques_1910%E2%80%931.jpg, 1911, a watercolor belonging to Arp. Kandinsky had told Arp that he could have one of his pictures included in the 'Moderne Bund' (second) exhibition in Zurich, 1912, and this was the one Arp selected <br class="br">1910 - 1915

“Only when architect, bricklayer and tenant are a unity, or one and the same person, can we speak of architecture. Everything else is not architecture, but a criminal act which has taken on form.”

Friedensreich Hundertwasser (1928–2000) Austrian artist

Mould Manifesto against Rationalism in Architecture (1958)

“Working in the abstract way seems to release one’s personality and sharpen the perceptions so that in the observation of humanity or landscape it is the wholeness of inner intention which moves one so profoundly. The components fall into place and one is no longer aware of the detail except as the necessary significance of wholeness and unity.... a rhythm of form which has its roots in earth but reaches outwards towards the unknown experiences of the future. The thought underlying this form is, for me, the delicate balance the spirit of man maintains between his knowledge and the laws of the universe.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 286

“.. displacement of bodies in [the] atmosphere [where] two persons form but one plastic unity, rhythmically balanced.”

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Gino Severini28

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