“[the Cubist painters who].. continued to paint objects motionless, frozen, and all the static aspects of Nature; they worship the traditionalism of w:Poussin, of w:Ingres, of Corot, ageing and petrifying their art with an obstinate attachment to the past, which to our eyes remains totally incomprehensible.”

— Umberto Boccioni

Source: 1912, Les exposants au public', 1912, pp. 2, 3.

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 "[the Cubist painters who].. continued to paint objects motionless, frozen, and all the static aspects of Nature; they w…" by Umberto Boccioni?

Umberto Boccioni 41

Italian painter and sculptor 1882–1916

Related quotes

“The truth lies somewhere between these two aesthetics [static Cubism and dynamic Futurism]. The 'pure form' of w:Ingres led inevitably to a life-less Platonism; the lyricism and Romanticism of Eugène Delacroix no longer tailed with our cerebral and geometric age.... as in all great ages, today's artwork must be the synthesis of these two things”

Gino Severini (1883–1966) Italian painter

quote, 1917
In the 'Preface' of the exhibition catalogue, Photo Secession Gallery, New York, March 1917

“Yon foaming flood seems motionless as ice;
Its dizzy turbulence eludes the eye,
Frozen by distance.”

William Wordsworth (1770–1850) English Romantic poet

Address to Kilchurn Castle.
Bartlett's Familiar Quotations, 10th ed. (1919)

“.. it was the Cubist painters who created the new magic of space and color that everywhere today confronts our eyes in new architecture and design. Since then the various branches of modern art through exhaustive experiment and research have created a vast laboratory whose discoveries unveiled for all the secrets of form, line and color..”

Arshile Gorky (1904–1948) Armenian-American painter

Quote from Gorky's text: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]
1942 - 1948

“Nearly conscious in someone like Michelangelo, or Paolo Uccello, quite intuitive in painters such as Ingres, or Corot, it works on the basis of numbers which belong to the painting itself, not to whatever it represents.”

Jean Metzinger (1883–1956) French painter

Cubism was born

“I believe that new art must differ totally in its manifestation from art as we know it, and people may be very reluctant to accept this. It is perhaps true to say, as someone did of cubism, that 'To sum up: since art is a need to create rather than imitate, the 'cubists' rousing themselves from the sentimentality born of the picturesque aspect of some natural spectacle or other, disengage the fleeting aspects from those which are constant and absolute, and with the aid of these two elements, construct a reality equivalent to that which they see before them'. Thus it is a question of finding the true equivalence (that, offered by Cubism is still not true equivalence), and this can only be 'that which is not nature at all, and is nonetheless one with nature”

Piet Mondrian (1872–1944) Peintre Néerlandais

like in Neo-Plasticism / De Stijl
Quote in Mondrian's letter to Lodewijk van Deyssel (who reacted as Dutch art critic on Mondrians essay: 'Le Néo-plasticisme'] Paris, February 1921; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 136
1920's

“Don't you think your Corot [to Guilemet the painter] is a little short on temperament? I'm painting a portrait of Vallabreque; the highlight on the nose is pure vermilion”

Paul Cézanne (1839–1906) French painter

remark of Cezanne ca. 1860
Quote in: Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 28
Quotes of Paul Cezanne, 1860s - 1870s

“The art of seeing Nature, or in other words, the art of using Models, is in reality the great object, the point to which all our studies are directed.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 12; vol. 2, p. 104.
Discourses on Art

“Throughout space there is energy. Is this energy static or kinetic! If static our hopes are in vain; if kinetic — and this we know it is, for certain — then it is a mere question of time when men will succeed in attaching their machinery to the very wheelwork of nature.”

Nikola Tesla (1856–1943) Serbian American inventor

"Experiments With Alternate Currents Of High Potential And High Frequency" (February 1892)
Context: Ere many generations pass, our machinery will be driven by a power obtainable at any point of the universe. This idea is not novel. Men have been led to it long ago by instinct or reason; it has been expressed in many ways, and in many places, in the history of old and new. We find it in the delightful myth of Antaeus, who derives power from the earth; we find it among the subtle speculations of one of your splendid mathematicians and in many hints and statements of thinkers of the present time. Throughout space there is energy. Is this energy static or kinetic! If static our hopes are in vain; if kinetic — and this we know it is, for certain — then it is a mere question of time when men will succeed in attaching their machinery to the very wheelwork of nature.

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

“A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations... To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 172.
1910, Manifesto of Futurist Painters,' April 1910

Help us to complete the source, original and additional information

Umberto Boccioni 41

Related quotes

Related topics