“When I came back to Paris in 1931, after a long convalescence in the South, the 'Abstraction-Création' group had just be founded. Vantongerloo had been given our mailing list. At the same time I learned of Van Doesburg's death in Davos. The first issue of 'Abstraction-Création' came off the press just a year later, printed in the same dusty small shop that had brought out 'Cercle et Carré' and where I had earned a meagre living as a non-union proof-reader and make-up man. 'Abstraction-Création' had a much wider influence than its predecessor. From 1932 to 1936 an annual cahier presented reproductions and statements by painters.”

— Michel Seuphor

Source: Abstract Painting (1964), pp. 100-101

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Michel Seuphor 9

designer, draughtsman, painter 1901–1999

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“In 1936, when the last issue of 'Abstraction-Création' appeared, Europe was in a deep slump. Hitlerism was rampant in Germany and many artists had already fled there… There were evil portents on the horizon; night was about to descend over Europe. It was at that moment that America took up the case of abstract art. The association of 'American Abstract Artists' was founded that year, and it was also in 1936 that the exhibition Cubism and Abstract Art was held at the Museum of Modern Art in New York… At about this time a flood of refugees – artists, intellectuals, and men of science – began to pour into the United States.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), p. 103

“Have you ever heard of anything more stupid than 'abstraction-abstraction'? and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself.”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

1915 - 1940
Source: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936

“The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929… However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), pp. 97-98:

“the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl.”

Piet Mondrian (1872–1944) Peintre Néerlandais

I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts.
Quote of Mondrian c 1931, in 'De Stijl' (last number), p. 48; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, pp. 44-45
published in the memorial number of 'De Stijl', after the death of Theo Van Doesburg in 1931
1930's

“.. I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.”

Paul Klee (1879–1940) German Swiss painter

Paul Klee, in an autobiographical text for Wilhelm Hausenstein, 1919; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1916 - 1920

“That had not been the first time nor had it been the last, but all the years of killing boiled down in essence to that single moment — not the time that came after, but that long and terrible instant when he had watched the lines of men purposefully striding up the slope to kill him.”

Clifford D. Simak book Way Station

Source: Way Station (1963), Ch. 25
Context: That had not been the first time nor had it been the last, but all the years of killing boiled down in essence to that single moment — not the time that came after, but that long and terrible instant when he had watched the lines of men purposefully striding up the slope to kill him.
It had been in that moment that he had realized the insanity of war, the futile gesture that in time became all but meaningless, the unreasoning rage that must be nursed long beyond the memory of the incident that had caused the rage, the sheer illogic that one man, by death or misery, might prove a right or uphold a principle.
Somewhere, he thought, on the long backtrack of history, the human race had accepted an insanity for a principle and had persisted in it until today that insanity-turned-principle stood ready to wipe out, if not the race itself, at least all of those things, both material and immaterial, that had been fashioned as symbols of humanity through many hard-won centuries.

“I found that when I talked to them in abstract terms, my ideas were not understood. The irony of it was that I, who had all but to steal books to read, had been branded as an intellectual by the one group that claimed it was dedicated to educating the oppressed and informing them with a vision of life.”

Richard Wright book Black Boy

Black Boy (1945)

“The same feeling [when Hartley saw a work of the American painter w:Albert Pinkham Ryder for the very first time in his life] came over me in the given degree as came out of the Emerson’s Essays when they were first given to me I I felt as I have read a page of the Bible in both cases. All my essential Yankee qualities we re brought forth out of this picture and if I needed to be stamped an American this was the first picture that had done this – for it had in it everything that I knew and had experienced about my own New England – even though I had never lived by the sea – it had in it the stupendous solemnity of a Blake, [English religious painter] picture and it had a sense of realism besides that bore such a force of nature itself as to leave me breathless.”

Marsden Hartley (1877–1943) American artist

Quote in Somehow a Past, 1933-c, 1939, unpublished manuscript, Hartley Archive, Yale University; as cited in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 26
1931 - 1943

“Some time ago a tailor in Chicago was conducting a vigorous advertising campaign. I did not suppose that his advertising was having any influence upon me. Some months after the advertising had begun I went into the tailor's shop and ordered a suit. While in the shop I happened to fall into conversation with the proprietor and he asked me if a friend had recommended him to me. I replied that such was the case. Thereupon I tried to recall who the friend was and finally came to the conclusion that this shop had never been recommended to me at all. I had seen his advertisements for months and from them had formed an idea of the shop. Later, I forgot where I had received my information and assumed that I had received it from a friend who patronized the shop. I discovered that all I knew of the shop I had learned from advertisements and I doubt very much whether I ever read any of the advertisements further than the display type. Doubtless many other customers would have given the same reply even though, as in my case, no friend had spoken to them concerning the shop.”

Walter Dill Scott (1869–1955) President of Northwestern university and psychologist

Source: The Psychology of Advertising in Theory and Practice, 1908, p. 176

“I never thought that a person's worth came from birth or wealth, and much later when I was queen, and then in exile, I had ample proof of it.”

Farah Pahlavi (1938) Empress of Iran

Page 91
Publications, An Enduring Love: My Life with the Shah (2004)

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Michel Seuphor 9

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