“A work of art must narrate something that does not appear within its outline. The objects and figures represented in it must likewise poetically tell you of something that is far away from them and also of what their shapes materially hide from us. A certain dog painted by Courbet (French 19th century painter) is like the story of a poetic and romantic hunt.”

— Giorgio de Chirico

1919
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 440
1908 - 1920, On Mystery and Creation, Paris 1913

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Giorgio de Chirico23

Italian artist 1888–1978

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“The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative... In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'....'For an impressionist, to paint after nature is not to paint the object, but to express sensations'....'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“A ghost story of which the scene is laid in the twelfth or thirteenth century may succeed in being romantic or poetical: it will never put the reader into the position of saying to himself: "If I'm not careful, something of this kind may happen to me!"”

M. R. James (1862–1936) British writer

Preface to More Ghost Stories of an Antiquary (1911); cited from Michael Cox (ed.) Casting the Runes and Other Ghost Stories (Oxford: Oxford University Press, 1998) pp. 337-8.

“The all-inclusiveness of the RV in the realm of mythology is also observable in the sphere of poetics. There is hardly a major poetic device in the various IE branches that is not present in the RV. A significant aspect, for example, is that in early Greek poetry (epics of Homer and Hesiod, and some epigraphic material) the fairly strict syllabic meter (the hexameter with its dactylic, iambic and other variants) is preponderant with only traces of alliteration; in Germanic poetry alliteration prevails while the syllabic meter is very loose: both are present in the RV. …Early Irish poetry (6th century CE) has both meter and alliteration (and rhyme) but this hardly counts since the Irish poets knew these poetic devices “from Vergil and Ovid” and, of course, the Romans developed them from the Greek tradition. Of the Vedic poetic art Watkins writes: “The language of India from its earliest documentation in the Rigveda has raised the art of the phonetic figure to what many would consider its highest form.””

Nicholas Kazanas (1939)

"Indo-European Deities and the Rigveda," JIES 29 (2001), p. 257.

“The paradox in the evolution of French painting from Courbet to Cézanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.”

Clement Greenberg (1909–1994) American writer and artist

"On the Role of Nature in Modernist Painting" (1949), p. 171
1960s, Art and Culture: Critical Essays, (1961)

“From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.”

Abbas Kiarostami (1940–2016) Iranian film director, screenwriter, photographer and film producer

http://www.pbs.org/wgbh/pages/frontline/tehranbureau/2009/01/a-conversation-with-kiarostami.html

“…to replace, as far as possible, works in the concrete conditions wherein they were written, spiritual conditions in part, that is to say, philosophical, rhetorical or poetic tradition, material conditions in part, that is to say, scholarly and social milieu, constraints stemming from the material support of writing, historical circumstances. Every work must be replaced in the praxis from which it emanates.”

Pierre Hadot (1922–2010) French historian and philosopher

...replacer, autant que possible, les œuvres dans les conditions concrètes où elles ont été écrites, conditions spirituelles d’une part, c’est-à-dire tradition philosophique, rhétorique ou poétique, conditions matérielles d’autre part, c’est-à-dire milieu scolaire et social, contraintes venues du support matériel de l’écriture, circonstances historiques. Toute œuvre doit être replacée dans la praxis dont elle émane.
La Philosophie comme manière de vivre (2001)

“The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.”

Wassily Kandinsky (1866–1944) Russian painter

VI. The language of Form and Colour
1910 - 1915, Concerning the Spiritual in Art, 1911

“In Abstract Expressionism the paintings symbolize the idea of ground-directedness as opposed to object-directedness. You put something down, react to it, put something else down, and the painting itself becomes a symbol of this. The difference is that rather than symbolize this ground-directedness I do an object-directed appearing thing. There is humor here. The work is still ground-directed; the fact that it's an eyebrow or an almost direct copy of something is unimportant. The ground-directedness is in the painter's mind and not immediately in apparent in the painting. Pop Art makes the statement that ground-directedness is not a quality that the painting has because of what it looks like…”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“My whole intention in painting is to make a thing poetical; but not poetical in a literary sense. I want something that evokes mood, a background, a stage set for certain characters that are playing certain parts. When I paint I do not consider myself an abstractionist in the sense that I'm trying to create beautiful forms that fit together like a puzzle. The things in my painting are intended to strike something that is an emotional involvement – that has to do with the human personality and all the mysteries of life, not simply colors or abstract balances. To me, it's all reality.”

William Baziotes (1912–1963) American painter

Quote from An interview with William Baziotes, eds. P. Franks and M. White, Perspective no. 2, Hunter College New York (1956-57), pp. 27, 29-30
1950s

“I am inventing a language that must necessarily burst forth from a very new poetics, that could be defined in a couple of words: Paint, not the thing, but the effect it produces.”

Stéphane Mallarmé (1842–1898) French Symbolist poet

On his unfinished work Hérodiade, in a letter to Henri Cazalis (30 October 1864); Oeuvres Complètes (1945) edited by Mondor & Jean-Aubry, p. 307, as translated in Mallarmé : The Poet and his Circle ([1999] 2005) by Rosemary Lloyd, p. 48.
Observations
Context: I have finally begun my Herodiade. With terror, for I am inventing a language that must necessarily burst forth from a very new poetics, that could be defined in a couple of words: Paint, not the thing, but the effect it produces. … the line of poetry in such a case should be composed not of words, but of intentions, and all the words should fade away before the sensation..

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Giorgio de Chirico23

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