“In opposition to the immobile means of expression that the Academy was teaching, these painters threw down like a challenge a mobile expression; to volumes situated in space they preferred the living dynamism of coloured form in evolution.”

after 1920, The Epic, From immobile form to mobile form (1925)

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

Help us to complete the source, original and additional information

Do you have more details about the quote "In opposition to the immobile means of expression that the Academy was teaching, these painters threw down like a chall…" by Albert Gleizes?

Albert Gleizes21

French painter 1881–1953

Related quotes

“My talent lies in the expression of my life and creative power through light, colour and form. As a painter I can convey the essence of life.”

László Moholy-Nagy (1895–1946) Hungarian artist

Art of the 20th century, Part 1 by Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Ingo F. Walther, Christiane Fricke (2000) p. 178.

“Space expands or contracts in the tensions and functions through which it exists. Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space vibrates and resounds with color, light and form in the rhythm of life.”

Hans Hofmann (1880–1966) American artist

'Excerpts from the Teaching of Hans Hofmann', p. 66
Search for the Real and Other Essays (1948)

“Speech has arisen through the need for expression. Certain factors have contributed to making it the paramount utilitarian method of expression. There are ideas and things expressible in words, but there are ideas better expressed in music, the person with no musical ear, or without discipline in the language of music, lacks the key to the door of the world of musical experience. But we live in a world of volume and space; it is hard to conceive of the person who is space-blind or volume-deaf. The great majority of people have the means of approach to plastic beauty as part of their natural equipment. The teacher can develop this natural endowment as Necessity, the greatest teacher, has developed speech.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 57
Search for the Real and Other Essays (1948)

“Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), pp. 18-19

“The immobile had been changed to mobility.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

“[interpersonal meaning] embodies all use of language to express social and personal relations, including all forms of the speaker's intrusion into the speech situation and the speech act.”

Michael Halliday (1925–2018) Australian linguist

Source: 1970s and later, Explorations in the functions of language, 1973, p. 41 cited in: Sin-wai Chan (2004) A dictionary of translation technology. p. 113.

“Kandinsky, Wassily – painter, printmaker and author – the first painter to base painting on purely pictorial means of expression and abandon objects in his pictures.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Wassily Kandinsky, 1919 - his self-characterisation in 'Das Kunstblatt', 1919; as cited in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html <br class="br">1916 -1920

“Plastic expression in architecture is inconceivable without colour. Colour and light complete one another. Without colour architecture is expressionless, blind... If the Functionalists wish to suppress colour completely, then this merely proves that they never understood the importance of colour as an ‘architectural’ element, as a means of plastic expression, no matter whether used with iron, glass, or concrete.”

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

Quote in van Doesburg's his article: 'Space – time and colour', in 'De Stijl', Aubette Issue, series xv, 87-9, 1928, pp. 26–27
1926 – 1931

“To be white, red, yellow, or black is to be a painter. Today it is not sufficient for the painter to think of colour; he should be colour, feed on colour and transform himself into painting. That is the essential thing. To feel like colour means to carry within oneself the entire range of colours, not as a treasure, but as a trust.”

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

Quote in Van Doesburg's article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19
1926 – 1931

“What modern art means is that you have to keep finding new ways to express yourself, to express the problems, that there are no settled ways, no fixed approach. This is a painful situation, and modern art is about this painful situation of having no absolutely definite way of expressing yourself.”

Louise Bourgeois (1911–2010) American and French sculptor

Louise Bourgeois: a web of emotions, 2010

“In opposition to the immobile means of expression that the Academy was teaching, these painters threw down like a challenge a mobile expression; to volumes situated in space they preferred the living dynamism of coloured form in evolution.”

Help us to complete the source, original and additional information

Albert Gleizes21

Related quotes

Related topics