
Carlo Carrà's art statement on Futurism in 1913, as quoted in Abstract Art Anna Moszynska, Thames and Hudson 1990, p. 26
1910's
Quote from a letter to Simone Herman, 3 September, 1933, as in quoted Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 28
Quotes of Fernand Leger, 1930's
Carlo Carrà's art statement on Futurism in 1913, as quoted in Abstract Art Anna Moszynska, Thames and Hudson 1990, p. 26
1910's
quote of c. 1927
Quote in 'Autour de Ballet Méchanique', as quoted in Fernand Léger – The Later Years -, catalogue ed. Nicolas Serota; published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, pp. 21-22
Quotes of Fernand Leger, 1920's
Anish Kapoor in conversation with Heidi Reitmaier, July 2007 in "Anish Kapoor" by Royal Academy Organization.
29 April 1854 (p. 228)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)
Source: A System of Logic (1843), p. 4
Context: [W]e may fancy that we see or feel what we in reality infer. Newton saw the truth of many propositions of geometry without reading the demonstrations, but not, we may be sure, without their flashing through his mind. A truth, or supposed truth, which is really the result of a very rapid inference, may seem to be apprehended intuitively. It has long been agreed by thinkers of the most opposite schools, that this mistake is actually made in so familiar an instance as that of the eyesight. There is nothing of which we appear to ourselves to be more directly conscious, than the distance of an object from us. Yet it has long been ascertained, that what is perceived by the eye, is at most nothing more than a variously coloured surface; that when we fancy we see distance, all we really see is certain variations of apparent size, and degrees of faintness of colour; and that our estimate of the object's distance from us is the result of a comparison (made with so much rapidity that we are unconscious of making it) between the size and colour of the object as they appear at the time, and the size and colour of the same or of similar objects as they appeared when close at hand, or when their degree of remoteness was known by other evidence. The perception of distance by the eye, which seems so like intuition, is thus, in reality, an inference grounded on experience; an inference, too, which we learn to make; and which we make with more and more correctness as our experience increases; though in familiar cases it takes place, so rapidly as to appear exactly on a par with those perceptions of sight which are really intuitive, our perceptions of colour.
(original Dutch, citaat van B.C. Koekkoek:) Ik maak vooraf geene tekeningen van het voorwerp of de voorwerpen, die ik op het doek of paneel wil schilderen.. ..maar begin dadelijk het ontworpen plan op het doek te plaatsen – Na mijne compositie eerst behoorlijk geschetst en beredeneerd te hebben, voornamelijk de schikking van licht en donker, begin ik dezelve met olieverw breed te schilderen, zoveel trachtende de tint of het coloriet er in te brengen, in welke ik mijn landschap.. ..wil gezien hebben.. ..als het geheel afgeschilderd is.
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 98-99
The Notebooks of Leonardo da Vinci (1883), VI Perspective of Colour and Aerial Perspective
Source: Essays on object-oriented software engineering (1993), p. 335; as cited in Edward V. Berard (1995) " A Comparison of Object-Oriented Development Methodologies http://www.ipipan.gda.pl/~marek/objects/TOA/OOMethod/mcr.html". The Object Agency, Inc.