“The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929… However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré.”

— Michel Seuphor

Source: Abstract Painting (1964), pp. 97-98:

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Michel Seuphor 9

designer, draughtsman, painter 1901–1999

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“When I came back to Paris in 1931, after a long convalescence in the South, the 'Abstraction-Création' group had just be founded. Vantongerloo had been given our mailing list. At the same time I learned of Van Doesburg's death in Davos. The first issue of 'Abstraction-Création' came off the press just a year later, printed in the same dusty small shop that had brought out 'Cercle et Carré' and where I had earned a meagre living as a non-union proof-reader and make-up man. 'Abstraction-Création' had a much wider influence than its predecessor. From 1932 to 1936 an annual cahier presented reproductions and statements by painters.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), pp. 100-101

“I am settled in France, and as for the rest of my history as a painter, it is bound up with the impressionistic group.”

Camille Pissarro (1830–1903) French painter

his remark, circa 1856; as quoted in Brush and Pencil, Vol. XIII, no. 6 , article: 'Camille Pissarro' Impressionist'; by Henry G Stephens, March, 1904, p. 412-13
quote of Pissarro, after his stay of three year without success in Venezuela, and returning back to Paris
1850's + 1860's

“I believe that at times such as these my modest efforts may be useful to mankind. I have shown how the new art has succeeded in bringing about pure relationships, and furthermore how these can be created in day-to-day life. [Mondrian tried to convince the Dutch publisher Stols to publish his new manuscript 'L'art et la vie']”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to A. M. Stols, 26 March 1932; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 222
1930's

“I am searching for the proper harmony of rhythm and unchanging proportion, as I wrote in the article. And I cannot tell you how difficult it is. [Mondrian is reacting on Van Doesburg criticism of the strong domination of the regular grid in Mondrian's latest paintings]”

Piet Mondrian (1872–1944) Peintre Néerlandais

In Mondrian's letter to Theo van Doesburg, Paris, 16 September 1919; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 171
1910's

“He is interested in the feelings of the squash ball, and of the champagne bottle that launches the ship. In a football match his sympathy is not with either of the teams but with the ball, or, in a match ending nil-nil, with the hunger of the goalmouth.”

Alan Bennett (1934) English actor, author

"Kafka in Las Vegas", p. 336.
Writing Home (1994)

“The artist cannot look to others to validate his efforts or his calling. If you don't believe me, ask Van Gogh, who produced masterpiece after masterpiece and never found a buyer in his whole life.”

Steven Pressfield (1943) United States Marine

Source: The War of Art: Break Through the Blocks & Win Your Inner Creative Battles

“As the painter needs his framework of parchment, the improvising musical group needs its framework in time.”

Bill Evans (1929–1980) American jazz pianist

Kind of blue liner notes.

“Group organization is to be the new method in politics, the basis of our future industrial system, the foundation of international order. Group organization will create the new world we are now blindly feeling after, for creative force comes from the group, creative power is evolved through the activity of the group life.”

Mary Parker Follett The New State

Source: The New State, 1918, p. 3

“Of course, I painted before Cobra, as afterwards. Each one of us [CoBrA-artists] had his own personality. Cobra is only a very short period of my life. It was like a crossroads. We crossed paths and each continued on his way.... We [artists] are not born to form groups. A group that lasted for too long would destroy the creative activity of its members.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote of Appel in an interview with fr:Michel Ragon, 1963; as quoted in; Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 105
fr:Michel Ragon asked Appel: 'Without Cobra, would you have been what you are today?'

“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

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Michel Seuphor 9

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