“This new plastic idea will ignore the particulars of appearance, that is to say, natural form and color. On the contrary, it should find its expression in the abstraction of form and color, that is to say, in the straight line and the clearly defined primary color.”

— Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

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Piet Mondrian 95

Peintre Néerlandais 1872–1944

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“However, new plasticism is pure painting [in contrast with the opinion of Theo van Doesburg, then]: the means of expression still are form and color, though these are completely interiorized; the straight line and flat color remain purely pictorial means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

“The important task of all art is to destroy the static equilibrium by establishing a dynamic one. Non-figurative art demands an attempt of what is a consequence of this task, the destruction of particular form and the construction of a rhythm of mutual relations, of mutual forms, or free lines.... the law of the denaturalization of matter is of fundamental importance. In painting, the primary color that is as pure as possible realizes this abstraction of natural color.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

“These universal means of expression were discovered in modern painting by a logical and gradual progress toward ever more abstract form and color. Once the solution was discovered, there followed the exact representation of relations alone, that is to say, of the essential and fundamental element in any plastic emotion of the beautiful.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

“Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, p. 25
Quotes of Fernand Leger, 1920's

“The first thing to change in my painting was the color [c. 1908-09]. I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively I felt that painting had to find a new way to express the beauty of nature.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian about 1905-1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; 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, p. 40

“Dear August... I want to start like a child, to express my impression in front of nature with three colors and a few lines, and then add to forms and colors, where it requires the expression, that the working process is only a dedication, and never a removal. Only we painters know how stupidly difficult this is.”

Franz Marc (1880–1916) German painter

1911 - 1914

“Color is all. When color is right, form is right. Color is everything, color is vibration like music; everything is vibration.”

Marc Chagall (1887–1985) French artist and painter

“Naturally, form has come to take precedence over color with me, though when I began painting color predominated. Slowly artistic evolution carried from color to form and while I still employ color, of course, it is the drawing which assumes the place of first importance in my pictures.”

Francis Picabia (1879–1953) French painter and writer

Quote of Picabia, in an interview in an American newspaper, 1915; as quoted by William A. Camfield, in Francis Picabia: His Art, Life and Times, Princeton, 1979, p.77
Picabia emphasised that line took precedence over colour in his works since 1915
1910's

“In general, it is possible to say that in artists as deliberate, as careful as [Durer and Holbein], drawing is particularly tight and the color is as cold as the verity of mathematics. In other artists, on the contrary, in those who are the poets of the heart, like Raphael, Correggio, Andrea del Sarto, line has more suppleness and color, more winning tenderness. In others whom we call realists that is to say, whose sensibility is more exterior, in Rubens, Velasquez, Rembrandt, for example, line has a living charm with its force and its repose, and the color sometimes bursts into a fanfare of sunlight, sometimes fades into mist.
So, the modes of expression of men of genius differ as much as their souls, and it is impossible to say that in some among them drawing and color are better or worse than in others.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. V. Drawing and Color, p. 104-105

“this complex form of realism.... totally destroys the integrity of the subject-matter... The abstract colors and forms that we portray belong to Universe outside time and space.”

Gino Severini (1883–1966) Italian painter

In his manifesto 'The Plastic Analogies of Dynanism', c. 1914; as quoted in Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 218

“This new plastic idea will ignore the particulars of appearance, that is to say, natural form and color. On the contrary, it should find its expression in the abstraction of form and color, that is to say, in the straight line and the clearly defined primary color.”

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Piet Mondrian 95

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