“The Italian metaphysical movement [initiated by De Chirico ] started from the spiritual reality, a consequence of the physical miracle and it aspects grouped on an immaterial plane; all this formed a new spectral reality, in order to attain maximal, almost erotic creativity in touch. The Cubists, on the other hand, starting from this sensual-idealistic touch, found a pure, new form of spirituality. Lorca is one of those who have reached this new form of miracle by following the paths of the greatest incredulity. He does not even believe in his own hands, unless it be to turn one-legged physiological and abstract tables.”

— Salvador Dalí

Quote from Dali's 'Introduction' of the exhibition of drawings, made by Lorca, 1930's (MPC 3); as quoted in Dali and Me, Catherine Millet, - translation Trista Selous -, Scheidegger & Spiess AG, 8001 Zurich Switzerland, p. 152
Quotes of Salvador Dali, 1931 - 1940

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Salvador Dalí 117

Spanish artist 1904–1989

Charles Eisenstein (1967) American writer

Charles Eisenstein, A New Story of the People: Charles Eisenstein at TEDxWhitechapel http://www.youtube.com/watch?v=Mjoxh4c2Dj0, YouTube, 13 February 2013

“De Chirico [Italian painter, later admired by the Surrealists as 'early Surrealist'] found himself in 1912 confronted with the problem of following one of the roads already opened or of opening a new road. He avoided Fauvism as well as Cubism and introduced what could be called 'metaphysical painting'. Instead of exploiting the coming medium of abstraction, he organized on his canvases the meeting of elements which could only meet in a 'metaphysical world'. These elements, painted in the minutest technique, were 'exposed' on a horizontal plane in orthodox perspective. This technique, in opposition to the Cubist or the purely abstract formula in full bloom at the moment, protected de Chirico’s position and allowed him to lay down the foundation of what was to become Surrealism ten years later.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote by Marcel Duchamp, 1943, from 'Appreciations of other artists': Giorgio de Chirico (painter, writer, illustrator); as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

“The healer in the New Age… is also spiritually aware that the healing of the physical body is not always the highest spiritual good; the over-estimation and serious, anxious care of the form life of the physical vehicle, is not of major importance.”

Alice A. Bailey (1880–1949) esoteric, theosophist, writer

Source: Esoteric Healing (1953), p.538

“Whenever I am embraced by land and seascape I draw ideas for new sculptures; new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize.... It is essentially practical and passionate.”

Barbara Hepworth (1903–1975) English sculptor

Studio International 171 – June 1966, p. 280
1961 - 1975

“In the outside world, all forms of intelligence, whether of sound or sight, have been reduced to the form of varying currents in an electric circuit in order that they may be transmitted. Inside the human frame exactly the same sort of process occurs. Must we always transform to mechanical movements in order to proceed from one electrical phenomenon to another? It is a suggestive thought, but it hardly warrants prediction without losing touch with reality and immediateness.”

Vannevar Bush book As We May Think

As We May Think (1945)

“This two-way transformation proceeds from metaphysical perceptions, for metaphysics is the search for the essential nature of reality. And so artistic creation is the metamorphosis of the external physical aspects of a thing into a self-sustaining spiritual reality. Such is the magic act which takes place continuously in the development of a work of art. On this and only on this is creation based.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40
Search for the Real and Other Essays (1948)

“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
1910 - 1920

“The pace of life has increased in the last few decades just as the speed of the motor bicycle has been exceeded many times over by the aeroplane. After art passed through a whole series of intermediate stages it reached cubism where for the first time the creative urge to construct instinctively overcame conscious resolve.... from this point the picture started to gain stature as a new world of reality and in this way the foundation stone for a new representation of the shapes and forms of the material world was laid.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Suprematism' in World Reconstruction (1920)

“It is perhaps not a surprise that photography developed as a technological medium in the industrial age, when reality started to disappear. It is even perhaps the disappearance of reality that triggered this technical form. Reality found a way to mutate into an image.”

Jean Baudrillard (1929–2007) French sociologist and philosopher

New millennium, Photography, or the Writing of Light, (2000)

“We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form... From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

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Salvador Dalí 117

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