“The metaphysical forms which compose our futurist pictures are the result of realities conceived and realities created entirely by the artist. These last are inspired by the emotion or intuition and dependent on atmosphere-ambience.”
Quote of Severine 1913, from the opening paragraphs of his text 'Art du fantastique dans le sacre', as cited in Gino Severini Ecrits sur l'art, (1913-1962), with a preface by Serge Fauchereau, (Paris: Editions Cercle d'Art, 1987), p. 47
Severini opens 'Art du fantastique' with a theoretical explanation of the concept, form and content of a Futurist work
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Gino Severini 28
Italian painter 1883–1966Related quotes

Source: A New Critique of Theoretical Thought, Volume I: The Necessary Presuppositions of Philosophy (trans. William S. Young and David H. Freeman), p. 4 ( full context http://www.dbnl.org/tekst/dooy002newc05_01/dooy002newc05_01_0004.php#4)

"Every Time We Say Goodbye" in Sight and Sound [London] ( June 1991)
Context: What is an artist? A provincial who finds himself somewhere between a physical reality and a metaphysical one... It’s this in-between that I’m calling a province, this frontier country between the tangible world and the intangible one — which is really the realm of the artist.

Stated in the description of Video artwork Ribolla https://artelaguna.world/videoart/ribolla.30318/ , Arte Laguna World https://artelaguna.world/. Also quoted on visual art work Sauvignon https://www.wikiart.org/en/giovanni-morassutti/sauvignon, Series Wine & Art https://www.wikiart.org/en/giovanni-morassutti/all-works#!#filterName:Series_wine-art,resultType:masonry, Wikiart.org (28 April, 2020) https://www.wikiart.org/
Technopoly: the Surrender of Culture to Technology (1992)
Context: Who knows what schools will be like twenty-five years from now? Or fifty? In time, the type of student who is currently a failure may be considered a success. The type who is now successful may be regarded as a handicapped learner — slow to respond, far too detached, lacking in emotion, inadequate in creating mental pictures of reality. Consider: what Thamus called the "conceit of wisdom" — the unreal knowledge acquired through the written word — eventually became the pre-eminent form of knowledge valued by the schools. There is no reason to suppose that such a form of knowledge must always remain so highly valued.
'Search for the Real in the Visual Arts', p. 40
Search for the Real and Other Essays (1948)

Source: Glamour: A World Problem (1950), Certain Preliminary Clarifications