“Seeing several of these paintings [his series paintings 'Hommage to the square', Josef Albers painted in 1963-64] next to each other makes it obvious that each painting is an instrumentation on its own.
This means that they all are of different palettes, and, therefore, so to speak, of different climates.
Choice of the colors used, as well as their order, is aimed at an interaction – influencing and changing each other forth and back.
Thus, character and feeling alter from painting to painting without any additional 'handwriting' or, so-called, texture.
Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways
In consequence, they move forth and back, in and out, and grow up and down and near and far, as well as enlarged and diminished. All this to proclaim color autonomy as a means of plastic organization.”

— Josef Albers

6 short quotes from: 'The Origin of Art'
Homage to the square' (1964)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Seeing several of these paintings [his series paintings 'Hommage to the square', Josef Albers painted in 1963-64] next …" by Josef Albers?

Josef Albers 33

German-American artist and educator 1888–1976

Related quotes

“The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.”

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

“.. I will endeavour to make clear to men of good will what the word 'material' means with regard to painting and that, without the material substance of paint, a painting is not a work of art but merely a decorative object, or rather, if it deals with an invented painting, the value of the image resides in its spiritual content.
In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Cirico's text 'A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT', 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542
1920s and later

“Painting is that pleasant amusement being one of the means whereby we convey ideas to each other.”

Jonathan Richardson (1667–1745) English painter

Essay on the Theory of Painting (1725)

“I see the future development of painting taking place in workshops.... not in any holy temple of the arts. Painting is manual labor, no different from any other. It can be done well or poorly.”

George Grosz (1893–1959) German artist

Quoted by William Bolcom, in The End of the Mannerist Century / quoted in Art of the 20th Century, Part 1, Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Christiane Fricke; publisher: Taschen 2000, p. 190

“It is not the subject which matters but the translation of the subject into the abstraction of the surface by means of painting. Therefore I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), pp. 12-13

“Each painting contains so much suffering.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

“Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors... Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.”

William Baziotes (1912–1963) American painter

I Cannot Evolve Any Concrete Theory, William Baziotes, in Possibilities, Vol. I, no. 1, New York, winter 1947-48, p. 2
William Baziotes is referring in this quote to Surrealist automatism originally a surrealist art concept
1940s

“Each painting is linked to a fundamental drama.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

“Give me that palette.... those two woodcocks.... turn this one's head to the left.... give me back my palette.... I can't paint that beak.... Quick, some paint.... change the position of those woodcocks…”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

quote from a letter written by Félix Fénéon, published in 'Le Bulletin des artistes' 15th December 1919
this quote is expressing Renoir's last painter-remark, 30 November 1919, three days before he died.
after 1900

“If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying – for however long it takes – until I think it has improved. And I don't demand an explanation from myself as to why this is so.”

Gerhard Richter (1932) German visual artist, born 1932

Quote in an interview with Astrid Kaspar, 2000; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5
after 2000

Help us to complete the source, original and additional information

Josef Albers 33

Related quotes

Related topics