“this complex form of realism.... totally destroys the integrity of the subject-matter... The abstract colors and forms that we portray belong to Universe outside time and space.”

Quote in: 'Plastic Art and Pure Plastic Art', Piet Mondrian (1937); in 'Documents of modern Art' ed. Robert Motherwell for Wittenborn, Schulz, New York 1945
1930's

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

The Principles of Success in Literature (1865)

Here it is sufficient to state that the first step in the process presents that immersion of Spirit in Nature which has been already referred to ; the second shows it as advancing to the consciousness of its freedom. But this initial separation from Nature is imperfect and partial, since it is derived immediately from the merely natural state, is consequently related to it, and is still encumbered with it as an essentially connected element. The third step is the elevation of the soul from this still limited and special form of freedom to its pure universal form ; that state in which the spiritual essence attains the consciousness and feeling of itself. These grades are the ground-principles of the general process; but how each of them on the other hand involves within itself a process of formation, constituting the links in a dialectic of transition, to particularise this must be preserved for the sequel. Here we have only to indicate that Spirit begins with a germ of infinite possibility, but only possibility, containing its substantial existence in an undeveloped form, as the object and goal which it reaches only in its resultant full reality. In actual existence Progress appears as an advancing from the imperfect to the more perfect; but the former must not be understood abstractly as only the imperfect, but as something which involves the very opposite of itself the so-called perfect as a germ or impulse. So reflectively, at least possibility points to something destined to become actual; the Aristotelian δύναμιςis https://en.wiktionary.org/wiki/%CE%B4%CF%8D%CE%BD%CE%B1%CE%BC%CE%B9%CF%82 also potentia, power and might. Thus the Imperfect, as involving its opposite, is a contradiction, which certainly exists, but which is continually annulled and solved; the instinctive movement the inherent impulse in the life of the soul to break through the rind of mere nature, sensuousness, and that which is alien to it, and to attain to the light of consciousness, i. e. to itself.
Lectures on the History of History Vol 1 p. 58-59 John Sibree translation (1857), 1914
Lectures on the Philosophy of History (1832), Volume 1

Quote, in the 'Introduction' of The Secret Life of Salvador Dali - first publication in 1942 - Vision Press, London 1976, p. 2
Quotes of Salvador Dali, 1941 - 1950

Session 919, Page 373
Dreams, Evolution and Value Fulfillment, Volume Two (1986)

Six Principles of Political Realism, § 4.
Politics Among Nations (1948)
Context: Realism maintains that universal moral principles cannot be applied to the actions of states in their abstract universal formulation, but that they must be filtered through the concrete circumstances of time and place. The individual may say for himself: "Fiat justitia, pereat mundus (Let justice be done, even if the world perish)," but the state has no right to say so in the name of those who are in its care. Both individual and state must judge political action by universal moral principles, such as that of liberty. Yet while the individual has a moral right to sacrifice himself in defense of such a moral principle, the state has no right to let its moral disapprobation of the infringement of liberty get in the way of successful political action, itself inspired by the moral principle of national survival.

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

The Futurist Reconstruction of the Universe http://www.italianfuturism.org/manifestos/futurist-reconstruction-of-the-universe/ Manifesto with Giacomo Balla, in: Direzione del Movimento Futurista, March 11, 1915. Translation by Caroline Tisdall, 1973.
Context: We Futurists, Balla and Depero, seek to realize this total fusion in order to reconstruct the universe by making it more joyful, in other words by an integral re-creation. 'We will give skeleton and flesh to the invisible, the impalpable, the imponderable and the imperceptible. We will find abstract equivalents for all the forms and elements of the universe, and then well will combine them according to the caprice of our inspiration, to shape plastic complexes which we will set in motion.