“Your eyes, accustomed to semi-darkness, will soon open to more radiant visions of light. The shadows which we shall paint shall be more luminous than the high-lights of our predecessors, and our pictures, next to those of the museums, will shine like blinding daylight, compared with deepest night. We conclude that painting cannot exist today without divisionism... w:Divisionism - [ Paul Signac initiated divisionism slightly earlier, together with Seurat ] - for the modern painter, must be an innate complementariness which we declare to be essential and necessary.”

— Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 92.
1910, Manifesto of Futurist Painters,' April 1910

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Umberto Boccioni 41

Italian painter and sculptor 1882–1916

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“Above all, we [the Italian Futurist painters] continue and develop the divisionist principle, but we are not engaged in Divisionism [developed by Seurat and Signac ]. We apply an instinctive complementarism which is not, for us, an acquired technique, but rather a way of seeing things.”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Quote of Russolo in: Le Futurisme: Création et avant-garde, Giovanni Lista, 2001; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 47.
undated quotes

“You meaner beauties of the night,
That poorly satisfy our eyes
More by your number than your light;
You common people of the skies,
What are you when the sun shall rise?”

Henry Wotton (1568–1639) English ambassador

On His Mistress, the Queen of Bohemia, stanza 1 (1624). In some versions "moon" replaces "sun". This was printed with music as early as 1624, in Est's "Sixth Set of Books", for example.

“My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.”

Hans Hofmann (1880–1966) American artist

As quoted in The Artist's Voice : Talks With Seventeen Modern Artists (1962) by Katharine Kuh, p. 128
1960s

“.. the light suggests no particular time of day or night [in the paintings of Paul Cézanne ]; it is not appropriated from morning or afternoon, sunlight or shadow.”

Clyfford Still (1904–1980) American artist

1950s
Source: Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990; p. 145

“A shadow is never created in darkness. It is born of light. We can be blind to it and blinded by it. Our shadow asks us to look at what we don’t want to see”

Terry Tempest Williams (1955) American writer

Source: When Women Were Birds: Fifty-four Variations on Voice

“If you are really anxious to learn the way to God, He has not left Himself without a witness, nor you without a teacher. Go to the recorded Christ, and look at that history; listen to those words which survive in the Gospels. And go to the living Christ, to Him who has said, "lam the Light of the world, he that followeth me shall not walk in darkness, but shall have the light of life." And dim as may be your outset — more of night than morning in your twilight, as you follow on you shall know the Lord, and with the light that radiates from Himself, your path will shine brighter and brighter unto the perfect day.”

James Hamilton (1814–1867) Scottish minister and a prolific author of religious tracts

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 90.

“That soul is on the certain path toward light which, sincerely desiring the light, constantly submits to the claims of the light as they are made known. That soul cannot stay in darkness, any more than a flower opening its petals broadly to the sun can stay in shadow.”

Wayland Hoyt (1838–1910) American Baptist Minister

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 389.

“Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it... Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), pp. 357-58: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher]], 1947

“The louder a sound is, the more we recognize it as being near, so the louder the "tone" of objects that is, the blacker or whiter the nearer they seem; and so if in our picture we wish to give a sense of distance, we must see that the darkest shadows and highest lights are in the foreground : and because we may not be able to materially alter things as the undiscriminating process gives them to us, we must seek for and select those scenes, those subjects, in which this arrangement of highest and deepest tones do come in the foreground, and then take care that our process renders them with fidelity, so that we may not lose the sense of their nearness or the feeling of greater distance of other planes which it is intended they shall give.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 44-45

“Painting, in the beginning, was a trade like any other. Some men became picture-makers as others became glaziers or carpenters. Painters painted shields, saddles and banners. The primitive painter was more of a craftsman than we are; he learned his trade superlatively well before he thought of letting himself go. The reverse is true today.”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 339)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

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Umberto Boccioni 41

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