“It is Cezanne's feeling that determined the form of his pictorial structure. It is his pictorial structure that gives off his feeling. If all his pictorial structures were to disappear from the world, so would a certain feeling..”

Source: 1940s, Beyond the Aesthetics' (1946), pp. 38-39

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 "It is Cezanne's feeling that determined the form of his pictorial structure. It is his pictorial structure that gives o…" by Robert Motherwell?

Robert Motherwell42

American artist 1915–1991

Related quotes

“It is Cézanne's feeling that determined the form of his pictorial structure. It is his pictorial structure that gives off his feeling. If all his pictorial structures were to disappear from the world, so would a certain feeling.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 38-39

“A work based only on a line concept is scarcely more than a illustration; it fails to achieve pictorial structure. Pictorial structure is based on a plane concept. The line originates in the meeting of two planes … we can lose ourselves in a multitude of lines, if through them we lose our senses for the planes.”

Hans Hofmann (1880–1966) American artist

'Terms' p. 71
Search for the Real and Other Essays (1948)

“What I am after, above all, is expression. Sometimes it has been conceded that I have a certain technical ability but that, my ambition being limited, I am unable to proceed beyond a purely visual satisfaction such as can be procured from the mere sight of a picture. But the purpose of a painter must not be conceived as separate from his pictorial means, and these pictorial means must be the more complete (I do not mean complicated) the deeper is his thought. I am unable to distinguish between the feeling I have for life and my way of expressing it.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), pp. 409-410

“All that interests me is the grey areas, the passages and the tonal sequences, the pictorial spaces, overlaps and interlockings. If I had any way of abandoning the object as the bearer of this structure, I would immediately start painting abstracts.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 93, note 24

“to study the nude, the foundation of all pictorial art, in total freedom and naturalness. From.... this basis there emerged the feeling, shared by all, of taking creative stimulus from life itself and submitting to the decisive experience.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

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

“Mathematics is merely a convenient tool by which the designer determines the physical proportions and details of a planned structure in order to transform his ideas… to the actuality of a finished structure.”

Eduardo Torroja (1899–1961) Spanish architect

p, 125
Philosophy of Structures (1958)

“By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art
1921 - 1930