“I haven't calculated why white signifies completeness, and it's not an impeccable colour, but a colour that lacks itself. Black is comprehensive and black is full of obliviousness. It is a true completion. This world is a downside. It's just a tiny point in the gloaming twilight. Denial is inclusive and it's about the idealised assertives and defensives, furthermore protecting the aspects of the destructive, senseless actualities of current counterinsurgencies. The representation of one fulfillment is more pleasant than all the blemishes and the settlement of this one imperfection. There are defects in this world, and on the other hand, hegemony. "Why don't you erase the perception, only negritude?" “How can I take this cobblestone and consolidate it?” You will be fully embossed with this extraordinary world. You will see such translucent melancholy. You will feel as if you can use adhesive in the last memoir of this one humankind and you will only experience the last time before, you will see the emptiness for one instant and then the bright glistening light way ahead of you. - Rok Seo.”

— RokSeo

Last update June 3, 2021. History

Genevieve Cogman (1972) novelist and game designer

Source: The Lost Plot (2017), Chapter 9 (p. 118)

“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

“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

“I don't know why black skin may not cover a true heart as well as a white one.”

Ulysses S. Grant (1822–1885) 18th President of the United States

To a neighbor (1856), as quoted in A Personal History of Ulysses S. Grant https://books.google.com/books?id=0G1LAAAAYAAJ&pg=PA155&dq=%22may+not+cover+a+true+heart+as+well+as+a%22&hl=en&sa=X&ei=uZngVIKtGsicNqz1gYgB&ved=0CB0Q6AEwAA#v=onepage&q&f=false (1868), by Albert Deane Richardson, Hartford, Connecticut: American Publishing Company, p. 155. According to some other sources, he had also used this phrase in a letter to Robert E. Lee (General of the Confederacy).
1850s

“People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black and the white is just as important.”

Franz Kline (1910–1962) American painter

1950's, Conversations With Artists, 1957

“Do not limit yourself between black and white, there are thousands of colours in between of them, same process for the yes and no answers, or able and not able.”

Elia M. Ramollah (1973) founder and leader of the El Yasin Community

The Great Master of Thought (Amen- Vol.3), Observing management

“We loved each other. No faithfulness my love did lack.
Love, you divine flame; you hole of colour: black.”

Paul-Jean Toulet (1867–1920) French poet

Coples

“Other lands became a larder full of all the good things
All we had to do was go and take
Blood the colour of the rain that grew our wicked harvest
Black the colour icing on our cake”

Andy Partridge (1953) British musician

"Human Alchemy".
Mummer (1983)

“But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..”

Franz Kline (1910–1962) American painter

Quote of Kline in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', Spring 1963; as cited in Interviews with American Artists, David Sylvester; Chatto & Windus, London 2001, pp. 61-62
1960's

“The first colours which made a strong impression on me were light juice green, white, crimson red, black and yellow ocher. These memories go back to the third year of my life. I saw these colours on various objects [houses and roofs, in Russia] which are not as clear in my mind as the colours themselves.”

Wassily Kandinsky (1866–1944) Russian painter

Source: 1916 -1920, Autobiography', 1918, p. 9

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