“The rectangular plane of varying dimensions and colours visibly demonstrates that internationalism does not mean chaos ruled by monotony but an ordered and clearly divided unity. In Neo-Plasticism, there are, in fact, very definite boundaries. But these boundaries are not really closed; the straight lines in rectangular opposition to one another constantly intersect, so that their rhythm continues throughout the whole work... These frontiers will be clearly defined but not 'closed'; there will be no customs, no work permits. 'Foreigners' will not be viewed as aliens.”

— Piet Mondrian

Quote in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
1930's

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Piet Mondrian 95

Peintre Néerlandais 1872–1944

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“the Cubists in Paris made me see that there was also a possibility of suppressing the natural aspect of form. I continued my research by abstracting the form and purifying the colour more and more. While working, I arrived at suppressing the closed effect of abstract form, expressing myself exclusively by means of the straight line in rectangular opposition; thus by rectangular planes of colour with white, grey and black. At that time, I encountered artists with approximately the same spirit, First Van der Leck, who, though still figurative, painted in compact planes of pure colour. My more or less cubist technique - in consequence still more or less picturesque - underwent the influence of his exact technique. Shortly afterwards I had the pleasure of making the acquaintance of Van Doesburg. Full of vitality and zeal for the already international movement that was called 'abstract', and most sincerely appreciative of my work, he came to ask me to collaborate in a review he intended to publish, and which he [Theo van Doesburg] was to call 'De Stijl.”

Piet Mondrian (1872–1944) Peintre Néerlandais

I was happy with an opportunity to publish my ideas on art, which I was engaged in writing down: I saw the possibility of contacts with similar efforts.
Quote of Mondrian c 1931, in 'De Stijl' (last number), p. 48; 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, pp. 44-45
published in the memorial number of 'De Stijl', after the death of Theo Van Doesburg in 1931
1930's

“The very fact that a Line is visible implies that it possesses yet another Dimension.”

Edwin Abbott Abbott book Flatland

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 16. How the Stranger Vainly Endeavoured to Reveal to Me in Words the Mysteries of Spaceland

“I realized that the difference that I saw between things was the same thing as their unity, because differences (borders, lines, surfaces, boundaries) don't really divide things from each other at all, they join them together, because all boundaries are held in common”

Alan Watts (1915–1973) British philosopher, writer and speaker

http://archive.today/2020.09.13-043207/https://www.youtube.com/watch?v=7GOmmIxmXJg&feature=youtu.be&t=3017
Other

“This new plastic idea will ignore the particulars of appearance, that is to say, natural form and color. On the contrary, it should find its expression in the abstraction of form and color, that is to say, in the straight line and the clearly defined primary color.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

“The closed language does not demonstrate and explain—it communicates decision, dictum, command. Where it defines, the definition becomes “separation of good from evil;” it establishes unquestionable”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), p. 101

“It is impossible to divide the past into distinct, clearly defined periods and prove that one age ended and another began in a particular year, such as 476, or 1453, or 1789.”

James Harvey Robinson (1863–1936) American historian

Source: An Introduction to the History of Western Europe (1902), Ch. 1 : The Historical Point of View, p. 3
Context: It is impossible to divide the past into distinct, clearly defined periods and prove that one age ended and another began in a particular year, such as 476, or 1453, or 1789. Men do not and cannot change their habits and ways of doing things all at once, no matter what happens. <!-- It is true that a single event, such as an important battle which results in the loss of a nation's independence, may produce an abrupt change in the government. This in turn may encourage or discourage commerce and industry and modify the language and the spirit of a people. Yet these deeper changes take place only very gradually. After a battle or a revolution the farmer will sow and reap in his old way, the artisan will take up his familiar tasks, and the merchant his baying and selling. The scholar will study and write and the household go on under the new government just as they did under the old. So a change in government affects the habits of a people but slowly in any case, and it may leave them quite unaltered.

“Drawing the line,
The Boundary line
Between this form and that
Is what the mind does.”

Alex Grey (1953) American artist

Art Psalms (2008), Let Love Draw the Line

“Common to the two geometries is only the general property of one-to-one correspondence, and the rule that this correspondence determines straight lines as shortest lines as well as their relations of intersection.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

“True artistic experience is never passive, for the spectator is obliged to participate, as it were, in the continuous or discontinuous variations of proportions, positions, lines and planes. Moreover, he must see clearly how this play of repeated or non-repeated changes may give rise to a new harmony of relations which will constitute the unity of the work. Every part becomes organized into a whole with the other parts. All the parts contribute to the unity of the composition, none of them assuming a dominant place in the whole.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from 'Grundbegriffe der neuen Gestaltenden Kunst', essay by Van Doesburg (published between 1921-23 in De Stijl) - last Chapter; as quoted in 'Fifty Years of Accomplishment, From Kandinsky to Jackson Pollock', by Michel Seuphor, Dell Publishing Co. 1964, p. 86
1920 – 1926

“I know that my unity with all people cannot be destroyed by national boundaries and government orders.”

Leo Tolstoy (1828–1910) Russian writer

My Religion (1884), as translated in The Human Experience : Contemporary American and Soviet Fiction and Poetry (1989) by the Quaker US/USSR Committee

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Piet Mondrian 95

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