“The work of art should be entirely conceived and formed by the mind before its execution. It should receive nothing from Nature’s formal properties or from sensuality or sentimentality... The picture should be constructed entirely from purely plastic elements, that is to say, planes and colours. A pictorial element has no other significance than 'itself', and therefore the picture has no other significance than 'itself.”

Quote from the first and only! issue of the art-magazine 'Art Concret', Paris 1930
1926 – 1931

Adopted from Wikiquote. Last update June 3, 2021. History

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Theo van Doesburg46

Dutch architect, painter, draughtsman and writer 1883–1931

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 55
Search for the Real and Other Essays (1948)

“Evoking fear is, in itself, an art form – and nothing in the entire history of storytelling has explored it better than video games.”

Ben Croshaw (1983) English video game journalist

http://web.archive.org/web/20081015182445/http://www.news.com.au/technology/story/0,25642,24493980-5014239,00.html
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“Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital…”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

“Finally it should be noted that the picture education, especially the pictorial statistics, are of international importance. Words carry more emotional elements than set pictures, which can be observed by people of different countries, different parties without any protest; Words divide, pictures unite.”

Otto Neurath (1882–1945) austrian economist, philosopher and sociologist

Otto Neurath (1931), "Bildstatistik nach Wiener Methode", Die Volksschule 27 (1931): 569 ; Translated and cited in Sybilla Nikolow (2013) "‘Words Divide, Pictures Unite.’Otto Neurath’s Pictorial Statistics in Historical Context."
1930s

“There is something ridiculous and miserly in the myth we inherit from abstract art: That painting is autonomous, pure and for itself, and therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities', which forces painting’s continuity. We are image-makers and image-ridden. There are no 'wiggly or straight lines' or any other elements. You work until you vanish. The picture isn’t finished if they are seen.”

Phillip Guston (1913–1980) American artist

transcript of the panel, March 1960, held at the Philadelphia Museum School of Art, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p.61
1950 - 1960

“Sound and talking undoubtedly increase the entertainment value of a picture. There is a distinct conflict, however, between a pictorial and sound elements, which cannot be entirely avoided until third dimensional pictures are made.”

William Moulton Marston (1893–1947) American psychologist, lawyer, inventor and comic book writer

Jill Lepore, The Secret History of Wonder Woman (2014), p. 139.

““But a second afterthought would follow, and I should ask: What must be the nature of this life dissevered from Nature,—bodiless, void of all sense-perception? What would be left in it except the pure elements of reason, the pure elements of perception, the pure formularies of science, and pure imagination? But what are these, altogether, but the common equipment, not of my mind or of some other individual mind, but of the universal human nature? And what is that universal nature but just the nature of the eternal Cosmic Consciousness? Yes, my personality has vanished; and death, in dissolving the tie to Nature under the alluring prospect of an existence for me wholly self-referred and self-sustaining, has resolved me back into the infinite Vague of the Cosmic Mind, as this might, perchance, be fancied to be in itself, apart from Nature and creation,””

George Holmes Howison (1834–1916) American philosopher

Source: The City of God and the True God as its Head (In Royce’s “The Conception of God: a Philosophical Discussion Concerning the Nature of the Divine Idea as a Demonstrable Reality”), p.118-9

“It took me a long time to discover that particularities of form and natural colour evoke subjective states of feeling which obscure pure reality. The appearance of natural forms changes, but reality remains. To create pure reality plasticity, it is necessary to reduce natural forms to constant elements of form, and natural colour to primary colour. The aim is not to create other particular forms and colours, with all their limitations, but to work toward abolishing them in the interest of a larger unity.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Later Quote of Mondrian, about 1910-1914; 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. 42

“Space and time are the only forms on which life is built and hence art must be constructed… The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art… We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time.”

Naum Gabo (1890–1977) Russian sculptor

As quoted in: Fred Kleiner (2008) Intl Stdt Edition-Gardner's Art Thru/Ages: Globl Hist. Vol.2, p. 949
1918 - 1935, Realistic Manifesto, 1920

“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
1910 - 1920

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Theo van Doesburg46

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