“Plastic automatism.... as employed by modern masters, like Masson, Miro, [both artists of Surrealism] and Picasso, is actually very little a question of the unconsciousness. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century greatest formal inventions.”

Modern Painter's World, Robert Motherwell , Dyn, Nov. 1942, p. 13
1940s

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Robert Motherwell42

American artist 1915–1991

Robert Motherwell (1915–1991) American artist

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 79
1950s

“The new plastic idea thus correctly represents actual aesthetic relationships. To the modern artist, it is a natural consequence of all the plastic ideas of the past. This is particularly true of painting, which is the art least bound to contingencies. The picture can be a pure reflection of life in its deepest essence.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

“I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.... Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 82
1960s, Interview with David Sylvester', (1960)

“I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to his friend architect Alfred Roth, 19 November 1931; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 204
1930's

“The greatest invention of the nineteenth century was the invention of the method of invention.”

Alfred North Whitehead (1861–1947) English mathematician and philosopher

Source: 1920s, Science and the Modern World (1925), Ch. 6: "The Nineteenth Century"

“The modern age did not so much invent new forms of migration as alter drastically the means and conditions of the old forms”

Eugene M. Kulischer (1881–1956) American sociologist

Variant: The modern age did not so much invent new forms of migration as alter drastically the means and conditions of the old forms <br class="br">Source: Europe on the Move: War and Population Changes, 1917-1947, 1948, p. 96 as cited in: Sarah Collinson (1999) Globalisation and the dynamics of international migration implications for the refugee regime http://www.unhcr.org/refworld/pdfid/4ff59b852.pdf. May 1999. p. 1

“Nationalism, then Islamism, both twentieth-century inventions, destroyed the Greek civilization in Egypt that had endured for three thousand years.”

Ian McDonald book The Dervish House

Source: The Dervish House (2010), Ch. 5, §1 (p. 158)

“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

“If a 19th century capitalist Machiavelli had wished to cripple the socialist intelligentsia of the 20th century, he could have invented no more cogent weapon than the labour theory of value. Yet this theory was the invention, not of a defender of capitalism, but of its greatest critic: Karl Marx.”

Steve Keen (1953) Australian economist

Source: Debunking Economics - The Naked Emperor Of The Social Sciences (2001), Chapter 13, Nothing To Lose But Their Minds, p. 270–271 (See also: Adam Smith, Wealth of Nations, Book I, Chapter VI, p. 58)

“Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.”

William Baziotes (1912–1963) American painter

Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69
1950s

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