Andre Malraux cites Picasso in: Anatoliĭ Podoksik, Marina Aleksandrovna Bessonova, Pablo Picasso (1989), Picasso: The Artists Work in Soviet Museums. p. 13.
Picasso talking about his discovery of African art.
Attributed from posthumous publications
“Matisse's art speaks for itself through its "mechanics", it's "form" and through the feeling which that "form" makes manifest. It's not by far the first to do so and to transcend the illustrated subject by doing so. (All good painting and sculpture does that to some extent). But just as Matisse rejected verbal rhetoric so he kept every last trace of illustrational rhetoric out of his art. He may have been the first painter in our tradition to do that in a really radical way. This doesn't make his art better than a Giotto's or Caravaggio's or Goya's or David's, not necessarily. But it does make it a salutary example for all those people who find it hard, in any medium, to mean what they say.”
On Matisse http://www.sharecom.ca/greenberg/matisse.html at sharecom.ca, 1973: On Henri Matisse
1970s
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Clement Greenberg 17
American writer and artist 1909–1994Related quotes
“The Age of Criticism”, p. 79
Poetry and the Age (1953)
p 97.
So I think, so I paint (1947)
'Is Photography a Failure?', Alfred Stieglitz, 'Sun: 5.', March 14, 1922; as quoted on Wikipedia
"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text
The fundamental argument of Plato’s critique of rhetoric usually is exemplified by the thesis, maintained, among other things, in the Gorgias, that only he who "knows" [epistatai] can speak correctly; for what would be the use of the "beautiful," of the rhetorical speech, if it merely sprang from opinions [doxa], hence from not knowing? … Plato’s … rejection of rhetoric, when understood in this manner, assumes that Plato rejects every emotive element in the realm of knowledge. But in several of his dialogues Plato connects the philosophical process, for example, with eros, which would lead to the conclusion that he attributes a decisive role to the emotive, seen even in philosophy as the absolute science.
Source: Rhetoric as Philosophy (1980), p. 28
Source: History of Mathematics (1925) Vol.2, Ch. 6: Algebra
Gregory Battcock. New Artists’ Video, an anthology, (1978) p. xiii. Introduction:
Listing of the several general questions to which video art gave rise to in those days.
Language Education in a Knowledge Context (1980)