“Futurism and Cubism are comparable in importance tot the invention of perspective, for which they substituted a new concept op space. All subsequent movements were latent in them or brought about by them.... the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d'être of art.”

— Gino Severini

Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248-249

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Gino Severini 28

Italian painter 1883–1966

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“If two stones were placed… near each other, and beyond the sphere of influence of a third cognate body, these stones, like two magnetic needles, would come together in the intermediate point, each approaching the other by a space proportional to the comparative mass of the other.”

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“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"

“In many respects there is a complete lack of analogy between the civilization of to-day and the only other civilization in any way comparable to it, that of the ancient Greco-Roman lands. There are, of course, many points in which the analogy is close, and in some of these points the resemblances are as ominous as they are striking. But most striking of all is the fact that in point of physical extent, of wide diversity of interest, and of extreme velocity of movement, the present civilization can be compared to nothing that has ever gone before. It is now literally a world movement, and the movement is growing ever more rapid and is ever reaching into new fields. Any considerable influence exerted at one point is certain to be felt with greater or less effect at almost every other point. Every path of activity open to the human intellect is followed with an eagerness and success never hitherto dreamed of. We have established complete liberty of conscience, and, in consequence, a complete liberty for mental activity. All free and daring souls have before them a well-nigh limitless opening for endeavor of any kind.”

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“One cannot reduce to concepts the distinction between two systems of three straight lines each (directed lines, of which the one system points forward, upward to the right, the other forward, upward to the left) but one can only demonstrate by holding to actually present spatial things. Two minds cannot reach agreement about it unless their views connect up with one and the same system present in the real world”

Carl Friedrich Gauss (1777–1855) German mathematician and physical scientist

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“Protagoras asserted that there were two sides to every question, exactly opposite to each other.”

Diogenes Laërtius (180–240) biographer of ancient Greek philosophers

Protagoras, 3.
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Source: Striking Thoughts (2000), p. 23

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Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

“Space is employed as the type even of the concept of time itself, representing it by a line, and its limits — moments — by points. Time, on the other had, approaches more to a universal and rational concept, comprising under its relations all things whatsoever, to wit, space itself, and besides, those accidents which are not comprehended in the relations of space, such as the thoughts of the soul. Again, time, besides this, though it certainly does not dictate the laws of reason, yet constitutes the principal conditions tinder favor of which the mind compares its notions according to the laws of reason. Thus, I cannot judge what is impossible except by predicating a and not-a of the same subject at the same time.”

Immanuel Kant (1724–1804) German philosopher

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

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Gino Severini 28

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