“Gaiety of tone is the luminous dominant, of tint, the warm dominant, of line, lines above the horizontal
Calmness of tone is the equality of dark and light; of tint, of warm and cool, and the horizontal for line.
Sadness of tone is the dark dominant; of tint, the cool dominant, and of line, downward directions.”

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

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Georges Seurat20

French painter 1859–1891

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“Aesthetic:
Art is Harmony.
Harmony is the analogy of opposites, the analogy of similarities of tone, of tint, of line taking account of a dominant and under the influence of the lighting, in combinations that are gay calm or sad.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“The frame [is no longer as in the beginning version] is in a harmony opposed to those of the tones, tints, and lines of the [motif of the] picture.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple... The method of expression relies on the optical mixture of tones, tints and their reactions”

Paul Signac (1863–1935) French painter

shadows that follow very strict rules Quote from Maria Buszek, online - note 22 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf Seurat's quote from: Jules Christophe, Seurat, in 'Les Hommes d'aujourd'hui', no. 368, March-April 1890 From Delacroix to Neo-Impressionism, 1899

“It seems that the first consideration of a painter who stands before the white canvas should be to decide what curves and arabesques should cut the surface, what tints and tones should cover it... Following the precepts of Delacroix he would not begin a composition until he had first determined its organization. Guided by tradition and by science, he would adjust the composition to his conception, that is to say he would adapt the lines (directions and angles), the chiaroscuro (tones), the colors (tints), to the traits he wished to make dominant.”

Paul Signac (1863–1935) French painter

Chapt. III.; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 21 From Delacroix to Neo-Impressionism, 1899

“Opposites are:
for tone, a more luminous/lighter one for a darker one.
for tint, the complementaries, that is, a certain red opposed to its complementary, etc.
Red — Green
Orange — Blue
Yellow — Violet
for line, those making a right angle.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“The clash of civilizations will dominate global politics. The fault lines between civilizations will be the battle lines of the future.”

Samuel P. Huntington The Clash of Civilizations?

"The Clash of Civilizations?," in Foreign Affairs (1993)
Context: It is my hypothesis that the fundamental source of conflict in this new world will not be primarily ideological or primarily economic. The great divisions among humankind and the dominating source of conflict will be cultural. Nation-states will remain the most powerful actors in world affairs, but the principal conflicts of global politics will occur between nations and groups of different civilizations. The clash of civilizations will dominate global politics. The fault lines between civilizations will be the battle lines of the future.

“If the masc. [masculine] is the vertic. [vertical] line, then a man will recognize this element in the rising line of a forest; in the horizont. [horizontal] lines of the sea he will see his complement. Woman, with the horizont. line as element, sees herself in the recumbent lines of the sea, and her complement in the vert. lines of the forest.”

Piet Mondrian (1872–1944) Peintre Néerlandais

[on his two paintings 'Sea' and ' Trees', both made in 1912 https://upload.wikimedia.org/wikipedia/commons/6/65/Trees%2C_1912%2C_Mondrian.jpg note in his sketchbook, undated but c. 1912; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 70 1910's

“Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes 'life'. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937), in 'Documents of modern Art', for Wittenborn, New York 1945, p. 13; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 55
1930's

“Therefore we well observe that the title of perfect cadence is attached only to a dominant that progresses to the main tone, because this dominant, which is naturally contained within the harmony of the main tone, seems, when it progresses to it, to return as if to its source.”

Jean-Philippe Rameau (1683–1764) French composer and music theorist of the Baroque era

Jean-Philippe Rameau (1726). Nouveau système de musique théorique, p. 59. Paris.

“Who in the rainbow can draw the line where the violet tint ends and the orange tint begins? Distinctly we see the difference of the colors, but where exactly does the one first blendingly enter into the other? So with sanity and insanity.”

Herman Melville book Billy Budd, Sailor

Source: Billy Budd, the Sailor (1891), Ch. 21
Source: Billy Budd, Sailor
Context: Who in the rainbow can draw the line where the violet tint ends and the orange tint begins? Distinctly we see the difference of the colors, but where exactly does the one first blendingly enter into the other? So with sanity and insanity. In pronounced cases there is no question about them. But in some supposed cases, in various degrees supposedly less pronounced, to draw the exact line of demarcation few will undertake tho' for a fee some professional experts will. There is nothing nameable but that some men will undertake to do it for pay.

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Georges Seurat20

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