(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."
“It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer. Although it is very difficult to express in words the effect of a work of art, it may be said that the viewer’s deepest impression can best be defined as the achievement of a balance between objective meaning and subjective meaning, both directly penetrated by awareness. He has a sensation of height and of depth which are no longer in any way bound to natural conditions or to spatial dimensions, a sensation which places the viewer in a state of consciousness harmony.”
1922
Quote from 'Grundbegriffe der neuen Gestaltenden Kunst', essay by Van Doesburg (published between 1921-23 in De Stijl) - last Chapter; as quoted in 'Fifty Years of Accomplishment, From Kandinsky to Jackson Pollock', by Michel Seuphor, Dell Publishing Co. 1964, p. 85-86
1920 – 1926
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Theo van Doesburg 46
Dutch architect, painter, draughtsman and writer 1883–1931Related quotes

Quote of Friedrich's letter 8 Feb. 1809, to 'Akademiedirektor Schulz'; as cited by Helmut Bôrsch-Supan and Karl Wilhelm Jàhnig in Caspar David Friedrich: Gemâlde, Druckgraphik und bildmassige Zeichnungen (Munich: Prestel, 1973), 182-83, esp. 183; translation, David Britt - note 117 http://d2aohiyo3d3idm.cloudfront.net/publications/virtuallibrary/0892366745.pdf
1794 - 1840

Et non seulement on ne retient pas tout de suite les œuvres vraiment rares, mais même au sein de chacune de ces œuvres-là, et cela m'arriva pour la Sonate de Vinteuil, ce sont les parties les moins précieuses qu'on perçoit d'abord... Moins décevants que la vie, ces grands chefs-d'œuvre ne commencent pas par nous donner ce qu'ils ont de meilleur.
Source: In Search of Lost Time, Remembrance of Things Past (1913-1927), Vol II: Within a Budding Grove (1919), Ch. I: "Madame Swann at Home"
The State of Visual Narrative In Film And Comics http://www.awn.com/mag/issue3.4/3.4pages/3.4chung.html

1915 - 1925, Suprematism' in World Reconstruction (1920)

"An Artistic Impression" (1909) in Style and Idea (1985), p. 189
1900s

Direct Art Magazine, "In Memoriam - Eugene James Martin", Fall-Winter 2006,Vol. 13, p. 86, http://www.saatchi-gallery.co.uk/yourgallery/artist/details.php?id=791 and http://afonline.artistsspace.org/view_artist.php?aid=3883

two short quotes of Picabia, in 'A Paris painter', by Hapgood, published in 'The Globe and Commercial Advertiser', 20 Febr. 1913, p. 8
1910's
“There’s something imminent in the work, but the circle is only completed by the viewer.”
Anish Kapoor Opens the Door:Modern Artist Creates Monuments that Transcend Space & Time

“What is the significance of viewer participation in your work?”
Context: What is the significance of viewer participation in your work?
It has to do with kinetic art. Kinetic art has very much to do with the interaction between spectator and art. In the second half of the ’50s, this became a big international movement. When I moved from painting to connections within media, this came through in the first work, which was an exhibition of found cardboard pieces. It was a turning point for me. The world itself, the industrial fabricated world, could stand for the man-made world of art.