“It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing’ from the logical point of view.... should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint.”

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 232
1908 - 1920, On Mystery and Creation, Paris 1913

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all famili…" by Giorgio de Chirico?
Giorgio de Chirico photo
Giorgio de Chirico 23
Italian artist 1888–1978

Related quotes

Max Müller photo

“He must be a man of little faith, who would fear to subject his own religion to the same critical tests to which the historian subjects all other religions. We need not surely crave a tender or merciful treatment for that faith which we hold to be the only true one.”

Max Müller (1823–1900) German-born philologist and orientalist

Preface (Scribner edition, 1872) <!-- New York, Scribner p xx -->
Chips from a German Workshop (1866)
Context: He must be a man of little faith, who would fear to subject his own religion to the same critical tests to which the historian subjects all other religions. We need not surely crave a tender or merciful treatment for that faith which we hold to be the only true one. We should rather challenge it for the severest tests and trials, as the sailor would for the good ship to which he trusts his own life, and the lives of those who are dear to him. In the Science of Religion, we can decline no comparisons, nor claim any immunities for Christianity, as little as the missionary can, when wrestling with the subtle Brahmin, or the fanatical Mussulman, or the plain speaking Zulu.

Baruch Spinoza photo
Albert Einstein photo
Frank Bunker Gilbreth, Sr. photo
Ingmar Bergman photo

“Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes.”

Ingmar Bergman (1918–2007) Swedish filmmaker

Jonas Sima interview <!-- pages 176-178 -->
Bergman on Bergman (1970)
Context: Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes. … All this talk about me standing aside, cutting myself off and so forth, has always amazed me... I've stated, firmly and clearly, that though as an artist I'm not politically involved, I obviously am an expression of the society I live in. Anything else would be grotesque. But I don't make propaganda for either one attitude or the other. No. As I told you, I vote for the Social Democrats. Their way of solving social problems comes closest to what I regard as decent. That I also find their actual solutions odd in many ways is another matter...

Henry John Stephen Smith photo
Pierre-Simon Laplace photo
Kazimir Malevich photo

“By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art
1921 - 1930

Related topics