“Divisionism is a complex system of harmony, an aesthetic rather than a technique.
The point is only a means.
To divide is to seek the power and harmony of color, through representing colored light by pure elements, and through employing the optical mixture of these pure elements, separated and proportioned according to the essential laws of contrast and graduation.”

— Paul Signac

As quoted in: Catherine Bock-Weiss. Henri Matisse and Neo-Impressionism, 1898-1908, Nr. 13 UMI Research Press, 1977. p. 20
From Delacroix to Neo-Impressionism, 1899

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

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Paul Signac 9

French painter 1863–1935

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“The means of expression is the optical mixture of tones, of tints (of local color and the illuminating color: sun, oil lamp, gas, etc.), that is, of the lights and of their reactions (shadows) following the laws of contrast, of gradation, of irradiation.”

Georges Seurat (1859–1891) French painter

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

“[.. according to Gauguin ] the impression of nature must be wedded to the aesthetic sentiment which chooses, arranges, simplifies and synthesizes. The painter ought not to rest until he has given birth to the child of his imagination.... begotten in a union of his mind with reality. Gauguin insisted on a logical construction of composition, on a harmonious apportionment of light and dark colors, the simplification of forms and proportions, so as to endow the outline's of forms with a powerful and eloquent expression.... He also insisted upon luminous and pure colors.”

Paul Sérusier (1864–1927) French painter

Paul Sérusier's quote in 1888, about Paul Gauguin; in Pierre Bonnard, John Rewald; MoMA - distribution, Simon & Schuster, New York, 1918, p. 13
Sérusier encountered in his summer vacation in Pont-Aven in Brittany [Summer 1888], briefly Paul Gauguin. He also made there a small landscape, painted under Gauguin's direction. Back in Paris, October 1888, Sérusier explained his Nabis friends (Denis, Pierre Bonnard and Vuillard) the artistic lessons Paul Gauguin taught him - as reported by John Rewald in his book Pierre Bonnard, p. 13-14

“However, new plasticism is pure painting [in contrast with the opinion of Theo van Doesburg, then]: the means of expression still are form and color, though these are completely interiorized; the straight line and flat color remain purely pictorial means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

“The impressions we receive, which often appear merely chaotic, consist of three elements; the impression of the color of the object, its form, and of its combined color and form, i. e., of the object itself. At this point the individuality of the artist comes to the front and disposes, as he wills, these three elements. It is clear, therefore, that the choice of object (i. e., of one of the elements in the harmony of form) must be decided only by a corresponding vibration in the human soul..”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, Munich, 1910; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 450
1910 - 1915

“Why do I paint? In my work as a mathematician, form, structure, and economy of expression are important. In music, add tone quality, balance and harmony. And now in painting, these aesthetic values are enhanced by color, contrast, and composition.”

Robin Hartshorne (1938) American mathematician

Robin Hartshorne Fine Art, fineartstudioonlione.com http://robinfaso.fineartstudioonline.com/about

“Pure mathematics is on the whole distinctly more useful than applied. […] For what is useful above all is technique, and mathematical technique is taught mainly through pure mathematics.”

G. H. Hardy book A Mathematician's Apology

A Mathematician's Apology (1941)

“And since the proportions of the human voice and the gesticulations of the human body are regulated by the same modulation as that by which sound and the motion of other bodies are, musical thought is subalternated not only to the harmony of human voice and gesticulation, but also of instruments and of those whose delectation consist in motion or sound and with these the harmony of the celestial and non-celestial. And since the concordance of times and the composition and harmony of the lower world and of all things composed of four elements come from celestial motions, and, moreover, since it is necessary to find the harmony of causes in their effects, the study of music also extends to knowing the proportions of times and the constitution of the elements of the lower world, and even the composition of all the elements.”

Robert Grosseteste (1175–1253) English bishop and philosopher

As quoted by Tanner, Bower, McLeish, and Gaspar in Ch. 1. "Unity and Symmetry in the De Luce of Robert Grosseteste," Robert Grosseteste and the pursuit of Religious and Scientific Learning in the Middle Ages (2016) ed., Jack P. Cunningham, Mark Hocknull, p. 17.
De artibus liberalibus (c. 1222-1237)

“Just as counterpoint and harmony follow their own laws, and differ in rhythm and movement, both formal tensions and color tensions have a development of their own in accordance with the inherent laws from which they are separately derived. Both, however, aim toward the realization of the same image. And both deal with the depth problem.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 45
Search for the Real and Other Essays (1948)

“In the metaphysical elements of aesthetics the various nonmoral feelings are to be made use of; in the elements of moral metaphysics the various moral feelings of men, according to the differences in sex, age, education, and government, of races and climates, are to be employed.”

Immanuel Kant (1724–1804) German philosopher

Part III : Selection on Education from Kant's other Writings, Ch. I Pedagogical Fragments, # 58
The Educational Theory of Immanuel Kant (1904)

“Although I have the colors, only the Lord can mix them with such harmony.”

Paulo Coelho book The Fifth Mountain

Source: The Fifth Mountain

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Paul Signac 9

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