Pierre Bonnard quote: “You reason colour more than you reason drawing Colour has a logic as severe as form.”

“.. in my ideal of a good painting; there's unity. The drawing and the colour are no longer distinct; as soon as you paint you draw; the more the colours harmonize, the more precise the drawing becomes. I know that from experience. When the colour is at its richest, the form is at its fullest.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 221 in: 'What he told me – III. The Studio'

“You have me like a drawing, erased, coloured in, untitled, signed by your tongue.”

Carol Ann Duffy (1955) British writer and professor of contemporary poetry

Source: Selected Poems

“The public is moved by mood more than logic, by instinct more than reason,”

Jean Chrétien (1934) 20th Prime Minister of Canada

Source: Straight From The Heart (1985), Chapter Three, The Business Of politics, p. 67
Context: A successful politician must not only be able to read the mood of the public, he must have the skill to get the public on his side. The public is moved by mood more than logic, by instinct more than reason, and that is something that every politician must make use of or guard against

“Colour came into its own with papiers collés.... with these works we [Braque, and a little later Picasso, started to make 'collage art', circa 1912] succeeded in dissociating colour from form, in putting it on a footing independent of form, for that was the crux of the matter. Colour acts simultaneously with form, but has nothing to do with form.”

Georges Braque (1882–1963) French painter and sculptor

Source: posthumous quotes, Braque', (1968), p. 75

“Deem our nation brutes no longer,
Till some reason ye shall find
Worthier of regard and stronger
Than the colour of our kind.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Source: The Negro's Complaint (1788), Lines 49-52

“The advance from drawing to painting should be gradual, and no serious attempts in colour should be made until the student has obtained proficiency in outline and in light and shade. If the artist cannot draws objects in a rather masterly way there is no point in his attempting colour.”

Ogden Rood (1831–1902) American physicist

Students' Text-book of Color; Or, Modern Chromatics, with Applications to Art and Industry. New York: D. Appleton and Company. 1881.

“Trevor Huddleston: …what I still want to know from you, really, is why the presence of a coloured immigrant group is objectionable, when the presence of a non-coloured immigrant is not objectionable.
Enoch Powell: Oh no, oh no! On the contrary, I have often said that if we saw the prospect of five million Germans in this country at the end of the century, the risks of disruption and violence would probably be greater, and the antagonism which would be aroused would be more severe. The reason why the whole debate in this country on immigration is related to coloured immigration, is because there has been no net immigration of white Commonwealth citizens, and there could be no migration of aliens. This is merely an automatic consequence of the facts of the case; it is not because there is anything different, because there is anything necessarily more dangerous, about the alienness of a community from Asia, than about the alienness of a community from Turkey or from Germany, that we discuss this inevitably in terms of colour. It is because it is that problem.”

Enoch Powell (1912–1998) British politician

The Great Debate, BBC TV (9 September 1969), from Reflections of a Statesman. The Writings and Speeches of Enoch Powell (London: Bellew, 1991), pp. 399-400
1960s

“We wanted a complementarity of form and colour. So we made a synthesis of analyses of colour (the divisionism of Seurat, Signac and Cross) and analyses of form”

Umberto Boccioni (1882–1916) Italian painter and sculptor

of Picasso and Georges Braque
In 'Dynanisme plastique' 1914, Boccioni; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 134
1914 - 1916

“The use of Colour was abolished, and its possession prohibited. Even the utterance of any word denoting Colour, except by the Circles or by qualified scientific teachers, was punished by a severe penalty.”

Edwin Abbott Abbott book Flatland

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 10. Of the Suppression of the Chromatic Sedition
Context: p>The use of Colour was abolished, and its possession prohibited. Even the utterance of any word denoting Colour, except by the Circles or by qualified scientific teachers, was punished by a severe penalty. Only at our University in some of the very highest and most esoteric classes — which I myself have never been privileged to attend — it is understood that the sparing use of Colour is still sanctioned for the purpose of illustrating some of the deeper problems of mathematics. But of this I can only speak from hearsay. Elsewhere in Flatland, Colour is now non-existent. The art of making it is known to only one living person, the Chief Circle for the time being; and by him it is handed down on his death-bed to none but his Successor. One manufactory alone produces it; and, lest the secret should be betrayed, the Workmen are annually consumed, and fresh ones introduced. So great is the terror with which even now our Aristocracy looks back to the far-distant days of the agitation for the Universal Colour Bill.</p

“Do not several sorts of Rays make Vibrations of several bignesses, which according to their bigness excite Sensations of several Colours, much after the manner that the Vibrations of the Air, according to their several bignesses excite Sensations of several Sounds? And particularly do not the most refrangible Rays excite the shortest Vibrations for making a Sensation of deep violet, the least refrangible the largest form making a Sensation of deep red, and several intermediate sorts of Rays, Vibrations of several intermediate bignesses to make Sensations of several intemediate Colours?”

Isaac Newton book Opticks, or a Treatise of the Reflections, Refractions, Inflections and Colours of Light

Query 13
Opticks (1704)

“You reason colour more than you reason drawing Colour has a logic as severe as form.”

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Pierre Bonnard 24

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