“.. it [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of painting that is realistic in the highest sense is beginning to appear, and it is here today... The advertising billboard, dictated by modern commercial needs, that brutally cuts across a landscape.... this yellow or red poster shouting in a timid landscape, is the best of possible reasons for the new painting; it topples the whole sentimental literary concept and announces the advent of plastic contrast.”

— Fernand Léger

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

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 [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of …" by Fernand Léger?

Fernand Léger 42

French painter 1881–1955

Related quotes

“The three horizontal bands at the top [ in his collage: landscape with paintings 1954] correspond to sea, sand and sky, while the yellow/white and red/white shapes at the bottom are the paintings – though of a kind I actually painted only later. It was the collage that suggested the idea of doing such paintings.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 18 : 'Notes from 1969'

“A great many things are dying very violently all the time. The best days for violent deaths are Tuesdays. They are the yellow-paint days. Saturdays are second best -- or worst. Saturdays are red-paint days. The Great Death Game is therefore a contest between red-paint days and yellow-paint days. So far yellow-paint days are winning by thirty-one corpses to twenty-nine. Whatever the colour, a violent death is always celebrated by a firework.”

Peter Greenaway (1942) British film director

Drowning By Numbers

“The paramount relation between poetry and painting today, between modern man and modern art, is simply this: that in an age in which disbelief is so profoundly prevalent or, if not disbelief, indifference to questions of belief, poetry and painting, and the arts in general, are, in their measure, a compensation for what has been lost. Men feel that the imagination is the next greatest power to faith: the reigning prince.”

Wallace Stevens (1879–1955) American poet

The Necessary Angel (1951), Imagination as Value

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

“Never paint except with the three primary colors [red, blue, and yellow] and their derivatives.”

Camille Pissarro (1830–1903) French painter

Attributed to Pisarro, in Philip Ball (2001() Bright Earth: Art and the Invention of Color. p. 178
Advise to his students to lightening their palette and remove colours such as black, ocher and sienna
undated quotes

“Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..”

Paula Modersohn-Becker (1876–1907) German artist

in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79
1897

“There were limits to what art—composed of such genres as portraiture, landscape, still life, and historical painting (the latter of which, in royal academies, enjoyed the highest esteem)—could do to show movement.”

Arthur Danto (1924–2013) American art critic and philosopher

What Art Is (2013), Chap. 1 : Wakeful Dreams

“My idea of painting was that those yellow squares, being put on the wall as delineating a virtual square or rectangle, were involving the wall itself within the piece and, in this sense, compared to what is usually a work of art, a painting, this piece was somehow reversing the usual terms of the esthetic proposition. Usually, you see the painting and you ignore the wall. Here you had the wall coming through the painting — and the painting itself, the painted pieces, become a standpoint to make the wall appear.”

Robert Barry (1936) American artist

Robert Barry (1980) in: Alexander Alberro (2003). Conceptual Art and the Politics of Publicity. Alberro noted: "Barry has since discussed the way in which this painting accented the structural support..."

“Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting.”

Jean Metzinger (1883–1956) French painter

Du Cubisme (1912)

Albert Gleizes (1881–1953) French painter

1910s, Du Cubisme (1912)

Help us to complete the source, original and additional information

Fernand Léger 42

Related quotes

Related topics