
"Le Mystère Picasso," p. 511.
5001 Nights at the Movies (1982)
Source: Art on the Edge, (1975), p. 138, "Criticism and Its Premises"
"Le Mystère Picasso," p. 511.
5001 Nights at the Movies (1982)
Quote from Leger's lecture "The aesthetics of the machine", in Paris, June 1924; as quoted by Paul Westheim in Confessions of Artists. - Letters, Memoirs and Observations of Contemporary Artists; Propyläen Publishing House, Berlin, 1925, p. 324; cited in Review by Francesco Mazzaferro http://letteraturaartistica.blogspot.nl/2016/03/paul-westheim1717.html
Quotes of Fernand Leger, 1920's
statement in Hans Hofmann: Recent Paintings (1952) Kootz Gallery
1950s
Tradition and the Individual Talent (1919)
Context: What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.
Quoted in Pauline Sameshima, Seeing Red: A Pedagogy of Parallax: an Epistolary Bildungsroman on Artful Scholarly Inquiry http://books.google.com/books?id=rvbxuB9KioIC&pg=PA157 (Youngstown, NY: Cambria Press, 2007), pp. 156–157, accessed 26 August 2013
Nobel acceptance speech (1989)
Context: As we enter the final decade of this century I am optimistic that the ancient values that have sustained mankind are today reaffirming themselves to prepare us for a kinder, happier twenty-first century.
I pray for all of us, oppressor and friend, that together we succeed in building a better world through human understanding and love, and that in doing so we may reduce the pain and suffering of all sentient beings.