
Quote in: 'Nous irons jusqu'au soleil', Delaunay; as cited in 'Futurism', ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 217
1915 - 1941
As quoted in Hans Hofmann (2000) by James Yohe
1970s and later
Quote in: 'Nous irons jusqu'au soleil', Delaunay; as cited in 'Futurism', ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 217
1915 - 1941
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
“All art is but imitation of nature.”
Omnis ars naturae imitatio est.
Source: Epistulae Morales ad Lucilium (Moral Letters to Lucilius), Letter LXV: On the first cause, Line 3.
Kirchner, in 'Chronik KG Brücke', 1913; a quoted by Wolf-Dieter Dube, Der Expressionismus in Wort und Bild (Genf and Stuttgart: Skira, Klett-Cotta, 1983), p. 34; as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 68
1905 - 1915
Direct Art Magazine, "In Memoriam - Eugene James Martin", Fall-Winter 2006, Vol. 13, p. 87; also http://www.artnet.com/awc/eugene-j-martin.html and http://morayeel.louisiana.edu/ejMARTIN/ejMARTIN-artist.html
“No form of Nature is inferior to Art; for the arts merely imitate natural forms.”
Meditations. xi. 10.
Bartlett's Familiar Quotations, 10th ed. (1919)
“All right. I’m not opposed to reality imitating art if it doesn’t get in the way.”
Source: Lines of Power (1968), p. 26
“For it is always the reality of the particular that provides the occasion and the spring of art”
"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.