“I began to draw from plant life and found the flat leaf forms were easier to do than thighs and breasts. I wanted to flatten. The plant drawings from that time until now have always been linear. They are exact observations of the form of the leaf or flower of fruit seen. Nothing is changed or added, no surface marking. They are not an approximation of the thing seen nor are they a personal expression or an abstraction. They are an impersonal observation of the form. When I applied the procedure to other things such as the vaulting of Notre Dame [church in Paris] or a patch of tar on the road, the subject of the drawings and the subsequent paintings were not recognizable even though they were exact copies of the thing seen. I wanted to use things that had no pictorial use.”

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 25-26 : 'Notes from 1969'

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Ellsworth Kelly28

American painter, sculptor, and printmaker 1923–2015

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

“In my search for these values I like to work both realistically and abstractly. In my drawing and painting I turn from one to the other as a necessity or impulse and not because of a preconceived design of action. When drawing what I see I am usually most conscious of the underlying principle of abstract form in human beings and their relationship one to the other. In making my abstract drawings I am most often aware of those human values which dominate the structure and meaning of abstract forms. Sculpture is the fusion of these two attitudes and I like to be free as to the degree of abstraction and realism in carving. The dominant feeling will always be the love of humanity and nature; and the love of sculpture for itself.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 285

“To proceed from assumptions about an abstract theoretical set-up and from them to draw conclusions about the observable world and to test - by rough or more refined means - whether the conformity with observations is "good" enough, is indeed the time honoured procedure that all empirical sciences, including the natural sciences, have used. I shall therefore not plead guilty of heresy even if I do work with choice-theory concepts that are not invariant under a general monotonic transformation of the utility indicator.”

Ragnar Frisch (1895–1973) Norwegian economist

Ragnar Frisch. " A complete scheme for computing all direct and cross demand elasticities in a model with many sectors http://econ.ucdenver.edu/beckman/Research/readings/frisch-demand-econometrica.pdf." Econometrica 27.2 (1959), p. 178; Cited in: Chipman, John S. " http://www.sv.uio.no/econ/om/tall-og-fakta/nobelprisvinnere/ragnar-frisch/Chipman%20paper[1.pdf The contributions of Ragnar Frisch to economics and econometrics]." ECONOMETRIC SOCIETY MONOGRAPHS 31 (1998): 58-110. <br class="br">1940-60s

“I am constantly observing things and believe that I am coming closer to beauty. In the last few days I have discovered form and have been thinking much about it. Until now I've had no real feeling for the antique. I could find it very beautiful by itself. But I could never find any thread leading from it to modern art. Now I've found it, and that's what I believe is called progress.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198
1899

“The plant laboratories in which this wonderful and vitally essential transformation is effected are chiefly located in the leaf of the plant… the thoughtful person must regard this structure—the most ordinary green leaf of tree or shrub or vine or the tiniest blade of grass—as in some respects the most wonderful thing in the world.”

Luther Burbank (1849–1926) American botanist, horticulturist and pioneer in agricultural science

p, 125
How Plants are Trained to Work for Man (1921) Vol. 5 Gardening

“Naturally, form has come to take precedence over color with me, though when I began painting color predominated. Slowly artistic evolution carried from color to form and while I still employ color, of course, it is the drawing which assumes the place of first importance in my pictures.”

Francis Picabia (1879–1953) French painter and writer

Quote of Picabia, in an interview in an American newspaper, 1915; as quoted by William A. Camfield, in Francis Picabia: His Art, Life and Times, Princeton, 1979, p.77
Picabia emphasised that line took precedence over colour in his works since 1915
1910's

“Art is the Flower - Life is the Green Leaf. Let every artist strive to make his flower a beautiful living thing, something that will convince the world that there may be, there are, things more precious more beautiful - more lasting than life itself… you must offer real, living - beautifully coloured flowers - flowers that grow from, but above, the green leaf – flowers that are not dead – are not dying – not artificial – real flowers springing from your own soul – not even cut flowers - You must offer the flowers of the art that is in you – the symbols of all that is noble – and beautiful – and inspiring - flowers that will often change a colourless leaf - into an established and thoughtful thing.”

Charles Rennie Mackintosh (1868–1928) Scottish architect, designer, water colourist and artist

Lecture, "Seemliness" (Glasgow, 1902), as cited in: David Brett, C. R. Mackintosh: The Poetics of Workmanship, (2004), p. 56

“The ever-changing display of plant forms, which I have followed for so many years, awakens increasingly within me the notion: The plant forms which surround us were not all created at some given point in time and then locked into the given form, they have been given… a felicitous mobility and plasticity that allows them to grow and adapt themselves to many different conditions in many different places. …How they can be brought together under one concept has slowly become clear to me and that this conception can be enlivened at a higher level [of consciousness]: thus I began to recognize, in the sense perceptible form, a supersensible archetype. Whoever has felt what a rich, saturated thought… has to say, will admit what a passionate movement comes to life in the spirit when we are enthused, and we anticipate the totality of what will evolve step by step…”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Goethe's Story of My Botanical Studies (1831) attributed by Frank Teichmann (tr. Jon McAlice) "The Emergence of the Idea of Evolution in the Time of Goethe" http://www.waldorfresearchinstitute.org/pdf/BAIdeaEvolTeich.pdf <br class="br">Attributed

“I tried to be natural, in other words the exact opposite of what drawing teachers call 'faithful to nature'. I made my first experiments with free form.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Looking, Arp, Jean; as quoted by Soby, James Thrall. Arp: The Museum of Modern Art. Doubleday, New York, 1958, Print. p. 12
1960s

“Outlaw consciousness is born the moment I drop out, stop the world, cease being an actor identified with the mythic roles I have been playing in society. Change begins when I do nothing except observe. The wisdom of the railroad crossing: Stop. Look. Listen. Meditation is the healthy form of voyeurism.”

Sam Keen (1931) author, professor, and philosopher

Source: The Passionate Life (1983), p. 135

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Ellsworth Kelly28

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