“No work which is destined to become a classic can look like the classics which have preceded it. In art, as in biology, there is heredity but no identity with the ascendants. Painters inherit characteristics acquired by their forerunners; that is why no important work of art can belong to any period but its own, to the very moment of its creation. It is necessarily dated by its own appearance. The conscious will of the painter cannot intervene.”

— Juan Gris

Quote from 'On the Possibilities of Painting,' lecture, Sociétés des études philosophiques et scientifiques pour l'examen des idées nouvelles, Sorbonne, Paris (1924-05-15), printed in the Transatlantic Review, # 16 (June 1924), pp. 482-488; trans. Douglas Cooper in Horizon, # 80 (August 1946), pp. 113-122

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Juan Gris6

Spanish painter and sculptor 1887–1927

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art & Other Serious Matters, (1985), p. 55, "Evidences of Surreality"

“The more rigorously criticism historicizes a work of art, in the sense of lodging it in the context of the moment of its production, the less likely it becomes for criticism to be able to explain either its own subsequent interest in the work or the possibility of lay—that is, nonacademic—interest in reading it.”

Russell Berman (1950) American academic

Source: Fiction Sets You Free: Literature, Liberty and Western Culture (2007), pp. 5-6.

“The intellectual abstraction of the second period of Cubism was of great importance, however. By its aspirations to the eternal and its 'concept of proportion inspired by the Classics' it revived the sense of craftsmanship concept in many painters. And this perfectly coincided with another of my ambitions – which was to make, with paint, an object having the same perfection of craftsmanship that a cabinet-maker would put into a piece of furniture.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248

“Each work of art is a complete entity existing in its own right and by its own particular logic.”

Patrick Swift (1927–1983) British artist

Nano Reid (1950)
Context: Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.