“A time will come when the picture will no longer be enough. Its immobility will become an archaism with the vertiginous movement of human life. The eye of man will perceive colours as feelings within itself. Multiplied colours will not need form to be understood and paintings will be swirling musical compositions of great coloured gases, which, on the scene of a free horizon, will move and electrify the complex soul of a crowd that we cannot yet conceive of.”

— Umberto Boccioni

Quote in his lecture at the Associazione Artistica Internationale, Rome May 1911, Boccioni's lecture 'La Pittura Futurista', 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55.
1911

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Umberto Boccioni41

Italian painter and sculptor 1882–1916

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“The musical note is the language of intelligence. Intelligence speaks wherever there is poetry, music and song. Colour is part of it. We love colours because we come from colour. Colour and sound.”

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“I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one’s sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.”

Barbara Hepworth (1903–1975) English sculptor

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“If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Concerning the Spiritual in Art, Wassily Kandinsky, Munich, 1912; as cited in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 15
1910 - 1915

“To be white, red, yellow, or black is to be a painter. Today it is not sufficient for the painter to think of colour; he should be colour, feed on colour and transform himself into painting. That is the essential thing. To feel like colour means to carry within oneself the entire range of colours, not as a treasure, but as a trust.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

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Source: Meditations

“What is true about heat and pain is also true about colour. The rock is no more red than it is hot or painful. It can only have a colour -- red, blue, yellow -- in the invisible life where the colour is felt, on the basis of 'feeling oneself' (se sentir soi-même). Life's feeling of itself and its feeling of colour is a pathos. Colour is not linked to a tonality through an external and contingent association that would vary with individuals. In the phenomenological substance of its flesh and being, colour is a sensation and subjectivity; it is this affective tonality and inner tone.”

Michel Henry (1922–2002) French writer

Michel Henry, Seeing the invisible: On Kandinsky, Continuum, 2009, p. 71
Books on Culture and Barbarism, Seeing the Invisible: On Kandinsky (1988)

“We perceive nature through the senses, which give us images of forms of colour, sounds etc. A form which exists only in relation to another form on its own, it does not exist.”

Édouard Vuillard (1868–1940) French painter

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“Generally speaking, colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammer, the soul is the strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.”

Wassily Kandinsky (1866–1944) Russian painter

V. The psychological working of Colour: Quoted in: Hajo Düchting (2000) Wassily Kandinsky, 1866-1944: A Revolution in Painting. p. 17
Alternative translation:
Colour is a means of exerting direct influence on the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hands which plays touching one key or another purposively to cause vibrations in the Soul; in: Anna Moszynska, Abstract Art, Thames and Hudson, 1990
Source: 1910 - 1915, Concerning the Spiritual in Art, 1911

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Umberto Boccioni41

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