“Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting.”

1910s, Du Cubisme (1912)

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Albert Gleizes21

French painter 1881–1953

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“Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting.”

Jean Metzinger (1883–1956) French painter

Du Cubisme (1912)

“[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art']…. my heritage was all those things; [De Stijl, Constructivism, Cubism, Surrealism ] simultaneously, so I am all those things. I hope with a very strong intellectual regard for Cubism, and an admiration for it, because it was great at a particular time. It was both painting and sculpture. It was a great point of liberation in both painting and sculpture, and especially sculpture. [David Smith was one of the few sculptors in the art scene of American Abstract Expressionism ]”

David Smith (1906–1965) American visual artist (1906-1965)

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 8
1960s

“I felt it necessary to evolve entirely new concepts (of form and space and paintings) and postulate them in an instrument that could continue to shake itself free from dialectical perversions. The dominant ones, Cubism and Expressionism, only reflected the attitudes of power or spiritual debasement of the individual.”

Clyfford Still (1904–1980) American artist

Clyfford Still, interview with Ti Grace Sharpless, 1963; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 200
1960s

“(Performance) art is, perhaps, the first art phenomenon to clearly demonstrate that modern art has become antiquated. Modern art is based upon a single assumption. That the artwork is only what it is. It is not a picture or a metaphor for something else. It is, say, a photograph, first and only. Or, perhaps, it is a painting, first and only. This assumption still looms above us all. We automatically accept it. We fall back upon it whenever we have a problem in criticizing, accepting, or understanding a work of art.”

Gregory Battcock (1937–1980)

1984, p. 5
L’Art Corporel, 1979

“For example, Rothko and I came to an agreement on the question of the subject matter; if we were to do something which could develop in some direction other than the accepted directions of that time, it would be necessary to use different subjects to begin with, and 1942, we embarked on a series of paintings that attempted to use mythological subject matter, preferably from Greek mythology. I did a series of paintings on the theme of Oedipus and Rothko did a series of paintings on other Greek themes….. this offered a possibility of a way out [of a. o. Social Realism and Cubism ]”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in ‘Living Arts, June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 31
1960s

“They speak of naturalism in opposition to modern painting. I would like to know if anyone has ever seen a natural work of art. Nature and art, being two different things, cannot be the same thing. Through art we express our conception of what nature is not. Velasquez left us his idea of the people of his epoch. Undoubtedly they were different from what he painted them, but we cannot conceive a Philip IV in any other way than the one Velasquez painted…”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 312
Quotes, 1920's

“This happened in 1912. Cubism was in full force. I made paintings that seemed like prisms compared to the Cubism my fellow artists were producing. I was the heretic of Cubism. I had great arguments with my comrades who banned color from their palette, depriving it of all elemental mobility. I was accused of returning to Impressionism, of making decorative paintings, etc... I felt I had almost reached my goal.”

Robert Delaunay (1885–1941) French painter

6
Quote from Delaunay's 'First Notebook, 1939', as cited in The New Art of Color: The Writings of Robert and Sonia Delaunay, Viking Press, 1978; as quoted on Wikipedia / Delaunay
1915 - 1941

“Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 71, "Lester Johnson's Abstract Men"

“Cubism, Futurism, Expressionism, abstract painting, are only names given to a change which our artistic thinking wants to make and is thinking. Nobody has ever painted fallen raindrops suspended in the air, they've always been depicted as streaks (even the cave-men drew herds of reindeer in the same way). Now people are painting cabs rattling, lights flickering, people dancing, all-in the same way (this is how we all see movement). That is thew whole frightfully simple secret of Futurism. Its very easy to prove its artistic feasibility, for all the philosophizing that has been raised against it. Space, surface and time are different things, which ought not to be mixed together, is the continuous cry. If only it were possible to separate them. I can't do it.”

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

in a letter to philosopher de:Eberhard Grisebach, March 1913; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, pp. 144-45

“They [the critics] forget that while the artist never works outside his time yet his art will go on to be merged gradually into the new art of a new age. There will be no short stop. We shall not, contrary to the expectation of these people, hear of the sudden death of Cubism, abstraction, so-called modern art.... if they could but realize that energy is a spiritual movement and that they must conceive of working under a law of universal aesthetic progress, as we do in science, in mathematics, in physics.”

Arshile Gorky (1904–1948) Armenian-American painter

Quote from: 'Stuart Davis', Arshile Gorky, in 'Creative Art 9', September 1931
1930 - 1941

“Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting.”

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Albert Gleizes21

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