“Light in nature creates movement in color. The movement is provided by the relationships of uneven measures, of colors contrasts among themselves and constitutes Reality [In this quote Delaunay is referring to his series 'Window'-paintings', which he had started in 1912].”

— Robert Delaunay

Quote in: 'Nous irons jusqu'au soleil', Delaunay; as cited in 'Futurism', ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 217
1915 - 1941

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Robert Delaunay8

French painter 1885–1941

Hans Hofmann (1880–1966) American artist

As quoted in Hans Hofmann (2000) by James Yohe
1970s and later

“He Robert Delaunay gives movement itself [in his pictures], the Futurists only illustrate movement..”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

c. 1913; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 145
Macke visited Delaunay in 1912, in Paris, and Robert Delaunay came to Macke in Bonn, 1913

“In nature, light creates the color; in the picture, color creates light. Every color shade emanates a very characteristic light — no substitute is possible.”

Hans Hofmann (1880–1966) American artist

As quoted in Readings in American art, 1900 -1975 (1975) by Barbara Rose, p. 117
1970s and later
Variant: In nature, light creates the color. In the picture, color creates the light.

“The first thing to change in my painting was the color [c. 1908-09]. I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively I felt that painting had to find a new way to express the beauty of nature.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian about 1905-1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 40

“Graphic work as the expressive movement of the hand holding the recording pencil.... is so fundamentally different from dealing with tone and color that one can use this technique quite well in the dark, even in the blackest night. On the other hand, tone (movement from light to dark) presupposes some light, and color presupposes a great deal of light.”

Paul Klee (1879–1940) German Swiss painter

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

“There must be no more pictures covered in brown sauce [c. 1880, when Munch started to paint series of landscapes in fresh colors]”

Edvard Munch (1863–1944) Norwegian painter and printmaker

a written note; as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 41
after 1930

“I was interested in achieving a creative freedom, a style that I could express with Seurat's.... color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.

“On the whole [the alignment of a series of stained glass windows with the interior of a villa in The Hague] I have thought about all the time... I want to focus more on the architecture of the interior in general and that should we do together [with architect Buys]... Now I was already thinking, the enormous color effect that the window will generate - and that will certainly become powerful - must be accompanied with strong colors - the hall -, otherwise the window itself will be too much isolated. For instance the staircase, could it be painted in strong colors and not [in] oak.... deep ultramarine blue or green, with a beautiful colorful carpet.... I feel I must make designs for carpets, to create in that way a beautiful unity with the stained glass as a whole.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jacoba van Heemskerck, in het Nederlands: Over het geheel [de afstemming van een serie aan Jacoba opgedragen glasramen met het interieur van een villa in Den Haag] heb ik steeds loopen denken.. ..ik wil mij veel meer op de architectuur van het binnenhuis in het algemeen toeleggen en dat moeten wij samen doen [met architect Buys].. .Nu heb ik al gedacht het enorme kleur-effekt dat het raam zal maken en dat zal zeker machtig werken, moet gedragen worden door sterke kleuren - de hal - anders staat het teveel alleen; zou de trap b.v. in de verf een sterke kleur kunnen krijgen en niet [in] eikenhout.. ..diep ultramarijn blauw of groen en dan een prachtige kleurige loper.. ..ik voel dat ik ontwerpen voor tapijten moet maken om zoo met het glas in lood een mooi geheel te hebben.
Quote in een brief van Jacoba aan architect J. Buys, 28 April 1920 in archief N.D.B., Amsterdam; as cited by Herbert Henkels, in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 42
1920's

“In recent times the rainbow (albeit with some different colors) has come to represent something far different. To many people it means freedom, love, pride, a new era, and, specifically, the LGBTQ movement… But the rainbow itself wasn’t designed to be a symbol of freedom, love, pride, or the LGBTQ movement. God created this beautiful, colorful phenomenon and designated it as a sign of His covenant with Noah and his descendants forever. Sadly, people ignore what God intended the rainbow to represent and proudly wave rainbow-colored flags in defiance of God’s command and design for marriage. Because of this, many Christians shy away from using the rainbow colors. But the rainbow was a symbol of God’s promises before the LGBTQ movement—and will continue to be after that movement has ended. As Christians, we need to take the rainbow back and teach our young people its true meaning.”

Ken Ham (1951) Australian young Earth creationist

Rainbow Lights at the Ark https://answersingenesis.org/blogs/ken-ham/2016/12/20/rainbow-lights-at-ark/, Around the World with Ken Ham (December 20, 2016) <br class="br">Around the World with Ken Ham (May 2005 - Ongoing)

“[Bertin's 'color' refers to] the repertoire of colored sensations which can be produced at equal value.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 61, as cited in: Jörg von Engelhardt (2002). The Language of Graphics: : A Framework for the Analysis of Syntax and Meaning in Maps, Charts and Diagrams. p. 27

“Light in nature creates movement in color. The movement is provided by the relationships of uneven measures, of colors contrasts among themselves and constitutes Reality [In this quote Delaunay is referring to his series 'Window'-paintings', which he had started in 1912].”

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Robert Delaunay8

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