“There are ambiguities in the art of painting but they are the ambiguities of a fine precision: the discovered fact of the image containing at the same time the reverberations of the unknown, the truly mysterious… I would take this further and add that painting is itself precise in its ideas. In the sense that the image is the idea in its purist form.* [*“The image is a principal of our knowledge. It is that from which our intellectual activity begins, not as a passing stimulus but as an enduring foundation””

St. Thomas Aquinas, Opus XVI]
X magazine (1959-62)

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Patrick Swift60

British artist 1927–1983

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“There is something ridiculous and miserly in the myth we inherit from abstract art: That painting is autonomous, pure and for itself, and therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities', which forces painting’s continuity. We are image-makers and image-ridden. There are no 'wiggly or straight lines' or any other elements. You work until you vanish. The picture isn’t finished if they are seen.”

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“The world as a sense, independent of the image, of the idea - this is the essence of the content of art. [My] square is not an image, just as a switch or socket are not the current.”

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

Malevich
Quote of Malevich, in his letter to Konstantin Rozhdestvenskii, 21 April, 1927, private archive, Moscow (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 27
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“The emotional quality of what we moderns call our thought produces an extreme violence of conviction combined with extreme incoherence in our arguments. I refer here to ordinary people and not to an intellectual elite. We do not involve ourselves in studying the meaning and consequences of a fact calmly and objectively. The fact asserts itself through its image and associates itself in unchallengeable fashion with other images which, in this mode of thinking, are its true context. Emotions justify as well as provoke or command opinions, which still seem intellectual and reasoned.”

Jacques Ellul (1912–1994) French sociologist, technology critic, and Christian anarchist

J. Hanks, trans. (1985), p. 211
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“In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it’s a loss that has done a great deal of damage to modern art. Painting is a return to origins.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

In an interview on the BBC arts program 'Omnibus', (1990); as quoted in 'Antoni Tàpies a Painter With Textures, Dies at 88', by William Grimes, in 'The New York Times', 8 Febr, 2012, p. B17
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“The eye projects and focuses the inner image (idea) onto the physical world in the same manner that a motion picture camera transfers an image onto a screen. The mouth creates words. The ears create sound. The difficulty in understanding this principle is due to the fact that we’ve taken it for granted that the image and sound already exist for the senses to interpret. Actually the senses are the channels of creation by which idea is projected into material expression.”

Jane Roberts (1929–1984) American Writer

Source: The Seth Material (1970), p. 13

“It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.”

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Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

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Patrick Swift60

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