Quotes about composite
page 2

“This is on the basis of the Aryan invasion theory according to which 'Aryans' invaded India in the early second millennium BC, and conquered it from the 'natives'. This theory is based purely on an eighteenth century linguistic proposition, and has no basis either in archaeology, or in literature, or in the racial-ethnic composition of India. What concerns us more, so far as this present volume is concerned, is the attempt to brand Hindu religious texts, on the basis of this theory, as 'invader' texts: a UNESCO publication characterises the Rigveda as 'the epic of the destruction of one of the great cultures of the ancient world.”

Shrikant Talageri (1958) Indian author

Shrikant Talageri, The Rigveda: A Historical Analysis, 2000.

World, Literature

“"Hypertext is a representation of the text which escapes and surprises by turns," I wrote. Given the pure unaccountability (it is literally impossible to read all the possible variations of a richly linked hypertext) a hyperfiction writer is always attuned to "how the reader will interpret the literature presented" since its presentation shifts and flows in its composition as well.”

Michael Joyce (1945) American academic and writer

Interview with Michael Joyce in Pif (January 2000)

Literature, Reading

“.. my own paintings of that period (1916 – 1919) remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all [reacting on similarities with the art of Carrà, and de Chirico, suggested by the interviewer]. My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world”

Giorgio Morandi (1890–1964) Italian painter

as in Surrealism or in 'Pittura Metafisica' of De Chirico
Source: 1945 - 1964, Interview, 1960, pp. 106-107

Life, World, Art, Flowers

“This compositional variety is mediated by a highly redundant set structure, a second-order all-combinatorial set; each set form is hexachordally equivalent to or totally disjunct from fifteen other set forms, so that one-third of all the available set forms belong to a collection of sets which are hexachordally aggregate forming, that is, hexachordally identical.”

Milton Babbitt (1916–2011) American composer

On Igor Stravinsky's Movements. Perspectives of new music, Spring-Summer 1964

“There were, indeed, several 'Christs,' several people whose preaching and exploits merged to form the composite figure historically known as Christ. There are all kinds of contradictions in the Bible, and in Christ's own attitudes as depicted, because there were more Christs than one.”

Jane Roberts (1929–1984) American Writer

Source: The God of Jane: A Psychic Manifesto (1981), p. 208

People, Christ

“Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5 1960's

“I insist on establishing the following dates indicating my prior paternity, [and the discussions that I held]
1884, 'Grande Jatte' study, exhibition of the Independants
1884-1885, 'Grande Jatte' composition
1885, studies at the 'Grande Jatte' and at Grandcamp; I took up again the 'Grande Jatte' composition October 1886. 4 October [18]85 I make Pissarro's acquaintance at Durand-Ruel's.
1886, January or February, a small canvas by Pissarro, divided and pure color, at Clozet's, the dealer on the Rue de Chateaudun.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

Color, Study

“It is not certain whether Pāṇini used writing for the composition of his work, though it is generally agreed that he knew of a form of writing, based on references to words such as "script" and "scribe" in his Ashtadhyayi. These must have referred to Aramaic or early Kharosthi writing. It is believed by some that a work of such complexity would have been difficult to compile without written notes, though others have argued that he might have composed it with the help of a group of students whose memories served him as 'notepads' (as is typical in Vedic learning). Writing first reappears in India in the form of the Brāhmī script from the 3rd century BC in the Ashokan inscriptions.”

Pāṇini ancient Sanskrit grammarian

An Analytical Study of 'Sanskrit' and 'Panini' as Foundation of Speech Communication in India and the World

Learning, Memory, Help

“A text is not a text unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. A text remains, moreover, forever imperceptible. Its law and its rules are not, however, harbored in the inaccessibility of a secret; it is simply that they can never be booked, in the present, into anything that could rigorously be called a perception.”

Jacques Derrida (1930–2004) French philosopher (1930-2004)

Plato's Pharmacy, intro
Dissemination (1972)

Secret, Books, Law, Game

“It seems that in writing a composition, one must first have in mind a reason for writing. If there is a reason behind it, no matter what one writes about, it will turn out to be excellent writing. If there is no reason behind it, there is no way to write. Even if one can produce something, it will be as dry and unpleasant as chewing wax.”

Jin Shengtan (1610–1661) Chinese writer

"How to Read the Shui-hu chuan", § 26; in How to Read the Chinese Novel (1990), ed. David L. Rolston, p. 137

Way

“The Congress for some time remained as a respectable residue. But a comprehensive party cannot survive too long as a residue. It may be small in size at a given time, but its composition should still remain comprehensive. This could be termed as the widest connotation of secularism. The Congress, therefore, is the most secular party in the real sense.”

P. V. Narasimha Rao (1921–2004) Indian politician

While nobody was opening their mouths in other parties, mouths were wide open in the Congress

Sense, Time

“Beside my own intense, multiple impressions of him, I also had to contend with his 'world image' created by the endless newspaper photographs, TV appearances, caricatures. Realizing this, I began to collect hundreds of photographs torn from newspapers and magazines and never missed an opportunity to draw him when he appeared on TV. These snapshots covered every angle, from above, below, profile, back, standing, sitting, walking, close-up, off in the distance. I particularly liked tiny shots where the features were indistinct yet unmistakable. Covering my walls with my own sketches and these photographs, I worked from canvas to canvas (the smallest 2 feet high, the largest, 11) always striving for a composite image.”

Elaine de Kooning (1918–1989) American painter

n.p.
1950 - 1971, Painting a Portrait of the President', Elaine de Kooning (1964)

World, Appearance, Drawing

“Perhaps it was his return to Paris [In June 1919 Piet Mondrian returned to Paris] that was needed to provide him with fresh new possibilities in his work. Invigoration. His most recent work is without composition. The division of the picture plane is modular. That means ordinary rectangles, all the same size. The only contrast is in the colour. In my view, this runs counter to his theory concerning the abolition of position and dimension. This is in effect equality of position and dimension.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from his letter to the Dutch modern architect Oud, 24 June 1919; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 126
1912 – 1919

“My sincere desire in the composition of the book was to give the true view of the history of nature, with as little disturbance as possible to existing beliefs, whether philosophical or religious.”

Robert Chambers (publisher, born 1802) book Vestiges of the Natural History of Creation

Source: Vestiges of the Natural History of Creation (1844), p. 388

Books, History, Nature, Sincerity

“ESSAY — A loose sally of the mind; an irregular indigested piece; not a regular and orderly composition.”

Samuel Johnson book A Dictionary of the English Language

A Dictionary of the English Language (1755)

“The first article in the foregoing quotation brings to my recollection the extraordinary performances of a professed fire-eater, whose name was Powel, well known in different parts of the kingdom about forty years ago. Among other wonderful feats, I saw him do the following: He ate the burning coals from the fire; he put a large bunch of matches lighted into his mouth, and blew the smoke of the sulphur through his nostrils; he carried a red-hot heater round the room in his teeth; and broiled a piece of beef-steak upon his tongue. To perform this, he lighted a piece of charcoal, which he put into his mouth beneath his tongue, the beef was laid upon the top; and one of the spectators blew upon the charcoal, to prevent the heat decreasing, till the meat was sufficiently broiled. By way of conclusion, he made a composition of pitch, brimstone, and other compustibles, to which he added several pieces of lead; the whole was melted in an iron ladle, and then set on fire; this he called his soup; and, taking it out of the ladle with a spoon of the same metal, he ate it in its state of liquefaction, and blazing furiously, without appearing to sustain the least injury.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 237
The Sports and Pastimes of the People of England (1801), Public entertainment

Way, Light, Appearance, Parting

“As regards my paintings of similar compositions I cannot give you any indication [about possible 'variants' in his works] because I'm afraid I've never made a note of where my paintings have ended up... I am always at work and work is my sole passion. And unfortunately I've become aware that I must always start from the beginning, and ought to burn what I've done in the past.”

Giorgio Morandi (1890–1964) Italian painter

Quote in his letter of 2 Aug. 1954; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 42
1945 - 1964

Passion, Past, Painting

“Even in the act of composition, the poet is in a state in which the reflective elements are subordinated to the intuitive. The vision, however, is not operative for so long as it continues, its very stress acts as a check on expression.”

Sarvepalli Radhakrishnan (1888–1975) Indian philosopher and statesman who was the first Vice President and the second President of India

Internet Encyclopedia of Philosophy

“There is a place with four suns in the sky — red, white, blue, and yellow; two of them are so close together that they touch, and star-stuff flows between them. I know of a world with a million moons. I know of a sun the size of the Earth — and made of diamond. There are atomic nuclei a few miles across which rotate thirty times a second. There are tiny grains between the stars, with the size and atomic composition of bacteria. There are stars leaving the Milky Way, and immense gas clouds falling into it. There are turbulent plasmas writhing with X- and gamma-rays and mighty stellar explosions. There are, perhaps, places which are outside our universe. The universe is vast and awesome, and for the first time we are becoming a part of it.”

Carl Sagan (1934–1996) American astrophysicist, cosmologist, author and science educator

Planetary Exploration (University of Oregon Books, Eugene, Oregon, 1970), page 15

World, Way, Star, Universe

“Film composing is a splendid discipline, and I recommend a course of it to all composition teachers whose pupils are apt to be dawdling in their ideas, or whose every bar is sacred and must not be cut or altered.”

Ralph Vaughan Williams (1872–1958) English composer

"Film Music", The R. C. M. Magazine, February 1944.

Idea, Teachers

“This little composition, which is, alas, the last mortal sin of my old age.”

Gioachino Rossini (1792–1868) Italian composer

Cette petite composition qui est, hélas, le dernier péché mortel de ma vieillesse.
Introductory note to the Petite Messe Solennelle. Translation from Justin Wintle (ed.) Makers of Nineteenth Century Culture (2002) vol. 2, p. 527.

Age

“The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.”

Wassily Kandinsky (1866–1944) Russian painter

VI. The language of Form and Colour
1910 - 1915, Concerning the Spiritual in Art, 1911

Art, Confidence, Question, Problem

“Of the eternal incorporeal substance nothing is changed, is formed or deformed, but there always remains only that thing which cannot be a subject of dissolution, since it is not possible that it be a subject of composition, and therefore, either of itself or by accident, it cannot be said to die.”

Giordano Bruno (1548–1600) Italian philosopher, mathematician and astronomer

As translated by Arthur Imerti (1964)
The Expulsion of the Triumphant Beast (1584)

Change

“In the course of many centuries a few laborsaving devices have been introduced into the mental kitchen — alcohol, coffee, tobacco, Benzedrine, etc. — but these are very crude, constantly breaking down, and liable to injure the cook. Literary composition in the twentieth century A. D. is pretty much what it was in the twentieth century B. C.: nearly everything has still to be done by hand.”

W. H. Auden book The Dyer's Hand

"Writing", p. 17
The Dyer's Hand, and Other Essays (1962)

Alcohol, Coffee, Cooking

“You haven't time to think about the composition. In working directly from nature, the painter ends up by simply aiming at an effect, and not composing the picture at all; and he soon becomes monotonous.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

(before 1880) As quoted in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 176
undated quotes, Renoir – his life and work, 1975

Nature, Thinking, Time

“Nature is just a dictionary, you hunt in it for words.... you find in it the elements which make a phrase or a story; but nobody would regard a dictionary as a composition in the poetic sense of the term. Besides, nature is far from being always interesting from the point of view of the effect of the whole... If each detail is perfect in some way, the union of these details seldom gives an effect equivalent to that which arises, in the work of a great artist, from the total composition.”

Eugène Delacroix (1798–1863) French painter

Delacroix, quoted by Paul Signac: in D'Eugene Delacroix au Neo-impressionnisme, Chap. I.; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p.10 + note 15 Quotes, undated

Way, Nature, Sense, Perfection

“Only the bad artists of the nineteenth century were frightened by the invention of photography; the good ones all welcomed it and used it. Degas liked it not only because it provided an accurate record, but because the snapshot showed him a means of escape from the classical rules of design. Through it he learnt to make a composition without the use of formal symmetry.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 13: Degas

“There are clouds, wind, smoke and dust and noise, over head and around, and there always will be; but no genuine thunder, with destructive bolt, menaces from any quarter of the sky. The real trouble with us was never our system or form of government, or the principles underlying it, but the peculiar composition of our people; the relations existing between them and the compromising spirit which controlled the ruling power of the country.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1860s, Our Composite Nationality (1869)

People, Country

“Every seminar should involve at its conclusion the assignment of a short composition in which students would attempt to state how their understanding of the book discussed in the seminar was increased by their participation in the discussion.”

Mortimer J. Adler (1902–2001) American philosopher and educator

Source: Reforming Education: The Opening of the American Mind (1990), p. 316

Books, Understanding

“It is in this way that all my books have been composed. They were always written at least twice over; a first draft of the entire work was completed to the very end of the subject, then the whole begun again de novo; but incorporating, in the second writing, all sentences and parts of sentences of the old draft, which appeared as suitable to my purpose as anything which I could write in lieu of them. I have found great advantages in this system of double redaction. It combines, better than any other mode of composition, the freshness and vigour of the first conception, with the superior precision and completeness resulting from prolonged thought. In my own case, moreover, I have found that the patience necessary for a careful elaboration of the details of composition and expression, costs much less effort after the entire subject has been once gone through, and the substance of all that I find to say has in some manner, however imperfect, been got upon paper.”

John Stuart Mill book Autobiography

Source: Autobiography (1873)
Source: https://archive.org/details/autobiography01mill/page/222/mode/1up p. 222

Books, Way, Effort, Appearance

“Dr. Tsenov, who has been a lecturer at Berlin University for years, has a double merit. He again gives us a new composition on the oldest story of the Bulgarians, which, almost 50 years after the old history of Konstantin Irechek, occupies a prominent place. It brings the Bulgarians to the many difficult to reach Latin, Byzantine and Old Slavic sources. The origins of the Southeastern countries and church history are, in any case, set by Tsenov for us in Central Europe in a new light.”

Gancho Tsenov (1870–1949) Bulgarian historian

quotations for him
Source: “Zeitschrift für Geopolitik”, Februar 1936

History, Light, Universe, Country

“There were three men whose lives became confused in history and merged, and whose composite history became known as the life of Christ... Each was highly gifted psychically, knew of his role, and accepted it willingly. The three men were a part of one entity, gaining physical existence in one time. They were not born on the same date, however. There are reasons why the entity did not return as one person. For one thing, the full consciousness would be too strong for one physical vehicle. For another, the entity wanted a more diversified environment than could otherwise be provided.”

Jane Roberts (1929–1984) American Writer

Source: The Seth Material (1970), p. 271-272

Life, Men, History, Strong

“…--- a view may include any number of interesting facts, may constitute a whole catalog of important and pretty items, and so be valuable as a view or as a record; but it would utterly fails as a pictorial composition.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 19

“There are very different programming styles. I tend to see them as Mozart versus Beethoven. When Mozart started to write, the composition was finished. He wrote the manuscript and it was 'aus einem Guss' (from one cast). In beautiful handwriting, too. Beethoven was a doubter and a struggler who started writing before he finished the composition and then glued corrections onto the page. In one place he did this nine times. When they peeled them, the last version proved identical to the first one.”

Edsger W. Dijkstra (1930–2002) Dutch computer scientist

Dijkstra (2001) Source: Denken als discipline https://www.youtube.com/watch?v=-Uae9_pgZzE#t=280, a program from Dutch public TV broadcaster VPRO from April 10th, 2001 about Dijkstra 2000s

Beauty, Time

“The impulse of nature, fused through the personality of the artist by laws arising from the particular nature of the medium, produces the rhythm and the personal expression of a work. Then the life of the composition becomes a spiritual unity.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 58
Search for the Real and Other Essays (1948)

Life, Law, Nature, Personality

“You [the interviewer Edouard Roditi, in 1958] have probably understood that I had always been mainly a plain-air painter, though I also painted portraits and still-life compositions. At first I experienced great difficulty with my brushwork – I mean with that the French call 'la touche de pinceau'. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife. In the view from my window in Sèvres, that I painted in 1906, when we were together in France, you can see how well he taught me. Later of course, here in Murnau, I learned to handle brushes, too, but I managed this by following Kandinsky's example, first with a palette knife, than with brushes.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

Life, Learning, Painting

“…in serial music, the series itself is seldom audible… What I'm interested in is a compositional process and a sounding music that are one in the same thing.”

Steve Reich (1936) American composer

Source: Steve Reich, ‎Paul Hillier (2002) Writings on Music, 1965-2000, p. 35

Music

“In the beginning when the world was young there were a great many thoughts but no such thing as truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were truths and they were all beautiful.”

Sherwood Anderson book Winesburg, Ohio

"The Book of the Grotesque"
Winesburg, Ohio (1919)

Truth, World, Beauty

“I propose to create an heroic, monumental style of composition simple enough to inspire all people, completely free from fads, artificial mannerisms and false sophistications, direct, forceful, sincere, always original but never unnatural. Music must be freed from decadence and stagnation. There has been too much emphasis on small things while the great truths have been overlooked. The superficial must be dispensed with. Music must become virile to express big things. It is not my purpose to supply a few pseudo intellectual musicians and critics with more food for brilliant argumentation, but rather to inspire all mankind with new heroism and spiritual nobility. This may appear to be sentimental and impossible to some, but it must be remembered that Palestrina, Handel, and Beethoven would not consider it either sentimental or impossible. In fact, the worthiest creative art has been motivated consciously or unconsciously by the desire for the regeneration of mankind.”

Alan Hovhaness (1911–2000) Armenian-American composer

Alan Hovhaness, 1940 Guggenheim Application http://www.hovhaness.com/hovhaness-biography.html

People, Truth, Food, Art

“It is possible to regulate watercourses over any given distance without embankment works; to transport timber and other materials, even when heavier than water, for example ore, stones, etc., down the centre of such water-courses; to raise the height of the water table in the surrounding countryside and to endow the water with all those elements necessary for the prevailing vegetation. Furthermore it is possible in this way to render timber and other such materials non-inflammable and rot resistant; to produce drinking and spa-water for man, beast and soil of any desired composition and performance artificially, but in the way that it occurs in Nature; to raise water in a vertical pipe without pumping devices; to produce any amount of electricity and radiant energy almost without cost; to raise soil quality and to heal cancer, tuberculosis and a variety of nervous disorders… the practical implementation of this … would without doubt signify a complete reorientation in all areas of science and technology. By application of these new found laws, I have already constructed fairly large installations in the spheres of log-rafting and river regulation, which as is known, have functioned faultlessly for a decade, and which today still present insoluble enigmas to the various scientific disciplines concerned.”

Viktor Schauberger (1885–1958) austrian philosopher and inventor

Viktor Schauberger: Our Senseless Toil (1934)

Law, Way, Drink, Nature

“If there really was one true god, it should be a singular composite of every religion’s gods, an uber-galactic super-genius, and the ultimate entity of the entire cosmos. If a being of that magnitude ever wrote a book, then there would only be one such document; one book of God. It would be dominant everywhere in the world with no predecessors or parallels or alternatives in any language, because mere human authors couldn’t possibly compete with it. And you wouldn’t need faith to believe it, because it would be consistent with all evidence and demonstrably true, revealing profound morality and wisdom far beyond contemporary human capacity. It would invariably inspire a unity of common belief for every reader. If God wrote it, we could expect no less. But what we see instead is the very opposite of that. Instead of only one religion leading to one ultimate truth, we have many different religions with no common origin, all constantly sharding into ever more deeply-divided denominations, seeking conflicting truths, and each somehow claiming divine guidance despite their ongoing divergence in every direction.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

"2nd Foundational Falsehood of Creationism" https://www.youtube.com/watch?v=ZFrkjEgUDZA&list=PL126AFB53A6F002CC&index=2, Youtube (November 24, 2007) Youtube, Foundational Falsehoods of Creationism

Wisdom, God, Truth, Books

“The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”

Milton Babbitt (1916–2011) American composer

From Milton Babbitt, "The Structure and Function of Musical Theory", College Music Symposium, Vol. 5 (Fall 1965), pp. 49-60; reprinted in Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and Edward T. Cone (New York: Norton, 1972), pp. 10-21, ISBN 0393005488, and in Milton Babbitt, The Collected Essays of Milton Babbitt, ed. Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus (Princeton: Princeton University Press, 2003), pp. 191-201, ISBN 0691089663.

Music, Question, Nature, Sense

“Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed — can even be enhanced — by description.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: Leonardo da Vinci (1939), Ch. Five: 1485-1496

Study

“Nadia Boulanger was quite aware that as a composition teacher she labored under two further disadvantages: she was not herself a regularly practicing composer and in so far as she composed at all she must of necessity be listed in that unenviable category of the woman composer. Everyone knows that the high achievement of women musicians as vocalists and instrumentalists has no counterpart in the field of musical composition. This historically poor showing has puzzled more than one observer. … Is it possible that there is a mysterious element in the nature of musical creativity that runs counter to the nature of the feminine mind? … The future may very well have a different tale to tell; for the present, however, no woman's name will be found on the list of world-famous composers.”

Aaron Copland (1900–1990) American composer, composition teacher, writer, and conductor

Copland on Music (1960) ISBN 0393001989.

Women, World, Music, Nature

“As a writer, I'm a composite intelligence.”

Nadine Gordimer (1923–2014) South african Nobel-winning writer

Yonder Mark (ed.), The Quotable Gordimer, 2014.

Intelligence

“The Futurists were the first painters, poets, and architects who exalted modern work with their art—
they painted speeding automobiles—
they painted lamps bursting with light—
they painted steaming locomotives and swift bicyclists—
the Futurists stylized their compositions, adopting a violently colored look; with synoptic and geometric shapes they multiplied and decomposed the rhythms of objects and landscapes in order to increase their dynamic qualities and to give an effective rendering of their swift ideas, the states of mind, their conceptions.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290

Art, Color, Idea, Light

“Lenin's thesis is that the party Central Committee should have the privilege of naming all the local committees of the party. It should have the right to appoint the effective organs of all local bodies from Geneva to Liege, from Tomsk to Irkutsk. It should also have the right to impose on all of them its own ready-made rules of party conduct. It should have the right to rule without appeal on such questions as the dissolution and reconstitution of local organizations. This way, the Central Committee could determine, to suit itself, the composition of the highest party organs. The Central Committee would be the only thinking element in the party. All other groupings would be its executive limbs.”

Rosa Luxemburg (1871–1919) Polish Marxist theorist, socialist philosopher, and revolutionary

Leninism or Marxism? (1904)

Way, Question, Thinking

“Only geometry can hand us the thread [which will lead us through] the labyrinth of the continuum’s composition, the maximum and the minimum, the infinitesimal and the infinite; and no one will arrive at a truly solid metaphysic except he who has passed through this [labyrinth].”
Nam filum labyrintho de compositione continui deque maximo et minimo ac indesignabili at que infinito non nisi geometria praebere potest, ad metaphysicam vero solidam nemo veniet, nisi qui illac transiverit.

Gottfried Leibniz (1646–1716) German mathematician and philosopher

Dissertatio Exoterica De Statu Praesenti et Incrementis Novissimis Deque Usu Geometriae (Spring 1676) Source: Leibniz, Leibnizens Mathematische Schriften, Herausgegeben Von C.I. Gerhardt. Bd. 1-7. 1850-1863. Halle. The quotation is found in vol. 7. on page 326 in ”Dissertatio Exoterica De Statu Praesenti et Incrementis Novissimis Deque Usu Geometriae”. Link https://archive.org/stream/leibnizensmathe12leibgoog Source: Geometry and Monadology: Leibniz's Analysis Situs and Philosophy of Space by Vincenzo de Risi. Page 123. Link https://books.google.no/books?id=2ptGkzsKyOQC&lpg=PA123&ots=qz2aKxAYtp&dq=Dissertatio%20Exoterica%20De%20Statu%20Praesenti%20et%20Incrementis%20Novissimis%20Deque%20Usu%20Geometriae%E2%80%9D&hl=no&pg=PA123#v=onepage&q&f=false

“Do you know what was great? Finding out that a stupid, ridiculous thing like copying a postcard could lead to a picture. And then the freedom to paint whatever you felt like. Stags, aircraft, kings, secretaries. Not having to invent anything anymore, forgetting everything you meant by painting – color, composition, space – and all of the things you previously knew and thought. Suddenly none of this was a prior necessity for art.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 60-61, note 94

Stupidity, Art, Color, Freedom

“Many fields use patterns in various ways: In music and literature, a pattern is the coherent structure or design of a song or book. In art, a pattern is the composition or plan of a work of graphic or plastic art. In architecture, a pattern is an architectural design or style. In psychology, a pattern is a thinking mechanism that is basic to the brain's operation, helping one to perceive things quickly. In archeology, a pattern is a group of phases having several distinguishing and fundamental features in common. In linguistics, a pattern is the manner in which smaller units of language are grouped into larger units…”

Peter Coad (1953) American software entrepreneur

Source: Object-oriented patterns. (1992), p. 152

Books, Art, Music, Way

“The elder Wood lived only to see his Circus begun. He died in 1754, and it was completed by his son. In 1766 the younger Wood acquired, in partnership with another person, a piece of land westwards of the Circus and on this he built the Royal Crescent (1767–75). This great semi-elliptical block, comprising thirty houses, is of very special importance in the history of English architecture, for it introduced a type of urban composition which was employed over and over again, with innumerable variations, until well into the nineteenth century.”

John Summerson (1904–1992) British architectural historian

Architecture in Britain, 1530–1830

History, Housing, Personality, Partnership

“It seems that the first consideration of a painter who stands before the white canvas should be to decide what curves and arabesques should cut the surface, what tints and tones should cover it... Following the precepts of Delacroix he would not begin a composition until he had first determined its organization. Guided by tradition and by science, he would adjust the composition to his conception, that is to say he would adapt the lines (directions and angles), the chiaroscuro (tones), the colors (tints), to the traits he wished to make dominant.”

Paul Signac (1863–1935) French painter

Chapt. III.; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 21 From Delacroix to Neo-Impressionism, 1899

Color, Science

“Aldrich, Thomas. "The Unguarded Gates." Literature for Composition. Ed. Sylvan Barnet, William Burto, William E. Cain. Boston: Perdue, 2014. 1113. Print.”

Thomas Bailey Aldrich (1836–1907) American poet, novelist, editor

Literature

“Content is nothing but the sum of organized tensions. From this point of view one can discover the basic identity of the rules of composition in all arts – always accepting that the arts can only represent their object materially by means of organised reactions.... already today one can safely assume that the roots of laws of composition are the same for art as they are for nature.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from: 'Analysis of the Primary Elements of Painting', W. Kandinsky, 1928
1920 - 1930

Law, Art, Nature

“In 1680, Robert Boyle published the Second Part of his Continuation of New Experiments Physico-mechanical, Touching the Spring and Weight of the Air…. According to Boyle's preface, the experimental work… was mainly done by a remunerated technician… Denis Papin. The air-pump with which the experiments were performed was… of Papin's own design… At least some, and perhaps the greatest part, of the design of the experimental project was also owing to the technician…. It seems also that the technician was partly, if not mainly, responsible for the composition of the experimental narratives.”

Steven Shapin (1943) American sociologist

Steven Shapin, A Social History of Truth: Civility and Science in Seventeenth-Century England (1994)

Spring, Parting

“All my work keeps going like a pendulum; it seems to swing back to something I was involved with earlier, or it moves between horizontality and verticality, circularity, or a composite of them. For me, I suppose that change is the only constant.”

Lee Krasner (1908–1984) American artist

Lee Krasner, ‎Marcia Tucker, ‎Whitney Museum of American Art (1973) Lee Krasner: large paintings. Nr. 33. p. 8.

Change

“The chief ingredients in the composition of those qualities that gain esteem and praise, are good nature, truth, good sense, and good breeding.”

Joseph Addison (1672–1719) politician, writer and playwright

William Temple, in "Heads Designed for an Essay on Conversation" in The Works of Sir William Temple, Bart. in Four Volumes (1757), Vol. III, p. 547.
Misattributed

Truth, Nature, Sense

“Plot involves fragmentary reality, and it might involve composite reality. Fragmentary reality is the view of the individual. Composite reality is the community or state view. Fragmentary reality is always set against composite reality. Virginia Woolf did this by creating fragmentary monologues and for a while this was all the rage in literature. She was a genius. In the hands of the merely talented it came off like gibberish.”

Rita Mae Brown (1944) Novelist, poet, screenwriter, activist

Starting from Scratch (1989)

Communication, Literature, Reality, Rage

“My works are 12-tone compositions, not 12-tone compositions”

Arnold Schoenberg (1874–1951) Austrian-American composer

Stuckenschmidt, Hans Heinz. 1977, in Schoenberg: His Life, World and Work; translated from the German by Humphrey Searle. p. 349.
after 1930

“Delacroix's composition is more entirely created, while that of Seurat employs matter organized scientifically, reproducing, presenting t our eyes objects constructed by scientific means rather than by signs, coming from our feeling. As result there is in his works a positivism, a slightly inert stability, coming from his composition, which is not the result of a creation of the mind, but of a juxtaposition of the objects. It is necessary to cross this barrier to re-feel light, colored and soft, and pure, the noblest pleasure”

Henri Matisse (1869–1954) French artist

In a letter to Camoin, Autumn 1914; as quoted in Matisse on Art, Jack Flam, University of California Press 1995 p. 275, note 5
1910s

Pleasure, Color, Feeling, Light

“And since the proportions of the human voice and the gesticulations of the human body are regulated by the same modulation as that by which sound and the motion of other bodies are, musical thought is subalternated not only to the harmony of human voice and gesticulation, but also of instruments and of those whose delectation consist in motion or sound and with these the harmony of the celestial and non-celestial. And since the concordance of times and the composition and harmony of the lower world and of all things composed of four elements come from celestial motions, and, moreover, since it is necessary to find the harmony of causes in their effects, the study of music also extends to knowing the proportions of times and the constitution of the elements of the lower world, and even the composition of all the elements.”

Robert Grosseteste (1175–1253) English bishop and philosopher

As quoted by Tanner, Bower, McLeish, and Gaspar in Ch. 1. "Unity and Symmetry in the De Luce of Robert Grosseteste," Robert Grosseteste and the pursuit of Religious and Scientific Learning in the Middle Ages (2016) ed., Jack P. Cunningham, Mark Hocknull, p. 17.
De artibus liberalibus (c. 1222-1237)

World, Music, Study, Time

“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.”

James McNeill Whistler (1834–1903) American-born, British-based artist

In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

Flowers, Tree, Painting, Indifference

“The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

"On Ambiguity" in Rational Meaning and Supplementary Essays (Charlottesville: University of Virginia Press, 1997).

Way, Question

“We have for a long time hesitated to adopt and carry out the only principle which can solve that difficulty and give peace, strength and security to the republic, and that is the principle of absolute equality. We are a country of all extremes, ends and opposites. The most conspicuous example of composite nationality in the world. Our people defy all the ethnological and logical classifications. In races we range all the way from black to white, with intermediate shades which, as in the apocalyptic vision, no man can name or number.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1860s, Our Composite Nationality (1869)

People, World, Peace, Way

“[But] to sing of your face, a composition
in itself sublime and marvelous,
I lack knowledge, Lady, and wit and art.”

Luís de Camões (1524–1580) Portuguese poet

Porém, pera cantar de vosso gesto
A composição alta e milagrosa
Aqui falta saber, engenho e arte.
The Collected Lyric Poems of Luis de Camoes (2016), trans. Landeg White, p. 25
Lyric poetry, Sonnets, Eu cantarei de amor tão docemente

Art, Knowledge, Singing

“We have all shared the treat of your lovely Lyrics, your tuneful compositions, your friendly presentation and your spontaneous sense of sharing with your followers, your treasury of talent. Keep going, keep growing, keep glowing.”

Vernon Corea (1927–2002) The legendary broadcaster – a pioneer with Radio Ceylon/Sri Lanka Broadcasting Corporation and the BBC.

'Remembering Clarence,' in the Sunday Times newspaper, Sri Lanka http://sundaytimes.lk/971221/plus8.html Vernon Corea on Sri Lanka's King of Pop, Clarence Wijewardena, introducing a Lotus LP with Clarence's top hits.

Love, Sense

“The problem of distinguishing prime numbers from composite numbers and of resolving the latter into their prime factors is known to be one of the most important and useful in arithmetic. It has engaged the industry and wisdom of ancient and modern geometers to such an extent that it would be superfluous to discuss the problem at length. … Further, the dignity of the science itself seems to require that every possible means be explored for the solution of a problem so elegant and so celebrated.”

Carl Friedrich Gauss book Disquisitiones Arithmeticae

Problema, numeros primos a compositis dignoscendi, hosque in factores suos primos resolvendi, ad gravissima ac utilissima totius arithmeticae pertinere, et geometrarum tum veterum tum recentiorum industriam ac sagacitatem occupavisse, tam notum est, ut de hac re copiose loqui superfluum foret. … [P]raetereaque scientiae dignitas requirere videtur, ut omnia subsidia ad solutionem problematis tam elegantis ac celebris sedulo excolantur.
Disquisitiones Arithmeticae (1801): Article 329

Wisdom, Problem, Science

“The Prussian diet has not an ideal composition…but has done useful work; in spite of this it will be necessary to preserve the [general] franchise for the Reichstag and to change the franchise for the diet. I most sincerely regret the announcement of such a change. It is merely a concession to the supposed popular will.”

Hans von Seeckt (1866–1936) German general

Letter (4 February 1916), quoted in F. L. Carsten, The Reichswehr and Politics 1918 to 1933 (Oxford: Clarendon Press, 1966), p. 105.

Change, Sincerity

“People think that painting is about color
It's mostly composition
It's composition that's the whole thing
The classic image-
Two late Tang dishes, one with a flower image,
one empty – the empty form goes all the way to heaven
It is the classic form – lighter weight.”

Agnes Martin (1912–2004) American artist

1970's, The Untroubled Mind', 1971

People, Color, Way, Flowers

“But a kind of genius can come of this deprivation of sensation, of experience. It has been mistaken as naïve intelligence, when in fact it is empty intelligence, pure intelligence. The composition of the mind is altered. Its previous cultivation is disintegrated and it has greater access to the brain, the body: it is Supersanity. Learning is turned inside out. You have to start from the top and work your way down. You must study mathematical theory before simple arithmetic; theoretical physics before applied physics; anatomy, you might say, before you can walk.”

Jack Abbott book In the Belly of the Beast

In the Belly of the Beast (1981)

Way, Intelligence, Mathematics, Study

“I believe that animals have descended from at most only four or five progenitors, and plants from an equal or lesser number.

Analogy would lead me one step further, namely, to the belief that all animals and plants have descended from some one prototype. But analogy may be a deceitful guide. Nevertheless all living things have much in common, in their chemical composition, their germinal vesicles, their cellular structure, and their laws of growth and reproduction. We see this even in so trifling a circumstance as that the same poison often similarly affects plants and animals; or that the poison secreted by the gall-fly produces monstrous growths on the wild rose or oak-tree. Therefore I should infer from analogy that probably all the organic beings which have ever lived on this earth have descended from some one primordial form, into which life was first breathed by the Creator.”

Charles Darwin book On the Origin of Species (1859)

Source: On the Origin of Species (1859), chapter XIV: "Recapitulation and Conclusion", page 484 http://darwin-online.org.uk/content/frameset?pageseq=505&itemID=F376&viewtype=side, in the second (1860) edition

Life, Secret, Law, Tree

“Dialogue in Hell:
Ninth Dialogue

Machiavelli: And where have you ever seen that a constitution, really worthy of the name, really durable, has ever been the result of popular deliberation? A constitution must come forth fully armed from the head of one man alone, or it is nothing but a work condemned to oblivion. Without homogeneity, without linking of parties, without practical strength, it will necessarily bear the imprint of all the weaknesses of sight that have presided at its composition….

Montesquieu: …One would say, to hear you, that you are going to draw a people out of chaos or out of the deep night of their first origins….

Machiavelli: I do not say no: therefore you will see that I need not destroy your institutions from top to bottom to arrive at my goal. It will suffice me to modify the arrangements and to change the methods.”

Will Eisner (1917–2005) American cartoonist

The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

People, Hell, Change, Drawing

“It is not necessary to conclude that the managerial groups have assumed complete domination over the concerns in which they are found, although this may be the fact in various instances, but only to reckon with the undoubted truth that the managerial factor in public and private enterprise has taken on a far more significant role than before.
This new role which has puzzled and alarmed the "owners" in industry and the policy-makers in government is not, however, primarily a power role, but a specialization of the evolving and complex character which we now confront in our civilization.
We may, of course, always raise the question-not in point of fact always raised-of what the relation of these managers is to the t! nds of the state or the ends of other groups and to the special techniques of the particular group and to its special social composition. In the complex power pattern of organization how are these managerial element-related to the organization of the consent of the governed, so vital a force in the life of every form of human association? In the struggle for advantage and mastery these larger factors may, indeed, pass unnoticed, but from the point of view of the student of politics and government, they are of supreme importance in judging the trends and possibilities of managerial evolution in modem society.”

Charles Edward Merriam (1874–1953) American political scientist

Source: Systematic Politics, 1943, p. 163-4 ; as cited in Albert Lepawsky (1949), Administration, p. 15-16

Life, Truth, Question

“But we're still left with structural or compositional elements. The problems aren't any different. I still have to compose a picture, and if you make an object [as Donald Judd does] you have to organize the structure. I don't think our work that radical in any sense because you don't find any really new compositional or structural element. I don't know if that exists. It's like the idea of the color you haven't seen before. Does something exist that's as radical as a diagonal that's not a diagonal? Or a straight line or a compositional element that you can't describe?”

Frank Stella (1936) American artist

quote from Stella, reacting in the artist-talk on Donald Judd who emphasis the 'whole' of an art work
Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 119

Color, Idea, Problem, Thinking

“I liked this because of the elimination of the essential in the composition. I cut it down and down, and down. This squeezed up to make it vivid.”

William Carlos Williams (1883–1963) American poet

Annotation on "Chicory and Daisies" (1915) on John C. Thirlwell's copy of The Collected Earlier Poems (c. 1958)
General sources

“Perspective and Impressionism were tentative attempts to deal with the world of appearance because of a fear to look inside. Cubism is structure and order. Now both epidermis and order are no longer possible.... The accidental aspects of Impressionist composition are to be understood as a reaction. And the reaction of Cézanne is to be seen as a response to Impressionism. One cannot simply disregard Impressionism. As a dialectic antithesis it was important. The Impressionists had the idea of dissolution; they wanted to represent light, not bodies and not shadows, but light for itself. Frequently I find this tedious, but there is an idea behind it: Atomization is a modern idea..”

Anselm Kiefer (1945) German painter and sculptor

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

World, Fear, Idea, Light

“Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share. Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings. In a picture every part will be visible and will play its appointed role, whether it be principal or secondary. Everything that is not useful in the picture is, it follows, harmful. A work of art must be harmonious in its entirety: any superfluous detail would replace some other essential detail in the mind of the spectator.”

Henri Matisse (1869–1954) French artist

1905 - 1910, Notes of a Painter' (1908)

Art, Feeling, Passion, Parting

“What makes Shakespeare so overwhelming is the way in which the situation (who is confronting whom) is usually itself part of the composition, meaningful already as a situation”

Max Frisch (1911–1991) Swiss playwright and novelist

Sketchbook 1946-1949

Way, Parting

“Every novelist knows – perhaps everyone knows who has written even a letter, or a page of a diary – that the process of composition involves two separate sensibilities.”

John Banville (1945) Irish writer

John Banville on the birth of his dark twin, Benjamin Black (2011)

“An individual who has survived physical death can if he wishes recreate any portion of his own past as it was. He can recreate any portion of his own past in any way he wishes, changing his own actions within it if he so chooses, combining and reforming the entire composition. Such a procedure is usually a dead-end enterprise. The others involved are vivid hallucinations, and he may not realize this.”

Jane Roberts (1929–1984) American Writer

Session 396, Page 197
The Early Sessions: Sessions 1-42, 1997, The Early Sessions: Book 8

Death, Way, Change, Past

“But absolutely nothing remains of that one and only medicament of which Hippocrates makes mention (darkly and mystically, I admit) in several places, and still less are its operations understood, inasmuch as no one now searches with lynx-like eyes into the profound depths of true natural philosophy, to gain an accurate knowledge of its composition and its virtues.”

Robert Fludd (1574–1637) British mathematician and astrologer

Robert Fludd, cited in: Waite (1887, p. 290)
According to Waite: "In Medicine he laments the loss of that universal panacea referred to by Hippocrates."

Search, Nature, Knowledge

“Once, along with The Transfigured Night, he played a class Rachmaninoff’s Isle of the Dead. Most of the class had not seen the painting, so he went to the library and returned with a reproduction of it. Then he pointed, with a sober smile, to a painting which hung on the wall of the classroom (A Representation of Several Areas, Some of Them Grey, one might have called it; yet this would have been unjust to it—it was non-representational) and played for the class, on the piano, a composition which he said was an interpretation of the painting: he played very slowly and very calmly, with his elbows, so that it sounded like blocks falling downstairs, but in slow motion. But half his class took this as seriously as they took everything else, and asked him for weeks afterward about prepared pianos, tone-clusters, and the compositions of John Cage and Henry Cowell; one girl finally brought him a lovely silk-screen reproduction of a painting by Jackson Pollock, and was just opening her mouth to—
He interrupted, bewilderingly, by asking the Lord what land He had brought him into. The girl stared at him open-mouthed, and he at once said apologetically that he was only quoting Mahler, who had also diedt from America; then he gave her such a winning smile that she said to her roommate that night, forgivingly: “He really is a nice old guy. You never would know he’s famous.””

Randall Jarrell book Pictures from an Institution

“Is he really famous?” her roommate asked. “I never heard of him before I got here. ...”
Source: Pictures from an Institution (1954) [novel], Chapter 4, pp. 138–139

Love, Smile, Guy, Quotes

“Because the fluctuations in the composition of the deck as it is dependent over successive (and dependent) trials, it is intuitively apparent that altering decisions or the magnitude of the wager or both in accordance with the fluctuations should prove advantageous to the player.”

Richard Arnold Epstein (1927) American physicist

Source: The Theory of Gambling and Statistical Logic (Revised Edition) 1977, Chapter Seven, Blackjack, p. 231

Decision, Success, Dependency

“An action which is suffered by, or required of, an object. Operations may be selectors, constructors, or iterators. An operation is contained in an object's interface and has its details described in a corresponding method. Operations may be composite, i. e., composed of other operations. However, encapsulation of composite operations within the interface to an object is not encouraged.”

Edward V. Berard

Source: Essays on object-oriented software engineering (1993), p. 336

Suffering

“In addition, 'Elementarism' is real instead of abstract. The use of the term 'abstract' also caused much misunderstanding. This is easily explained... As used in connection with visual methods of expression, the term 'abstract' is extremely relative. 'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term. Hence, the term ‘abstract-real’ [proposed by his former artist-fellow Piet Mondrian, ] was a fortunate invention, although in reference to a new orientation [van Doesburg's new art orientation 'Elementarism'] the term 'real' is sufficient. The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete…”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's article 'Elementarism as real art', in: 'Painting and plastic art' - Rome, July 1926, in De Stijl', series XIII, 1 75-6, 1926, pp. 35–43
1926 – 1931

World, Art, Reality, Painting

“If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Concerning the Spiritual in Art, Wassily Kandinsky, Munich, 1912; as cited in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 15
1910 - 1915

Beauty, Hope, Art, Feeling

“Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187
Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture
1926 – 1931

Effort, Science, Future

“The schools, having found the object of their long, blind searching, shall teach directness, simplicity, naturalness: they shall protect the young against palpable illusion. They shall teach that, while man once invented a process called composition, Nature has forever brought forth organisms. They shall encourage the love of Nature that wells up in every childish heart, and shall not suppress, shall not stifle, the teeming imagination of the young.
They shall teach, as the result of their own bitter experience, that conscious mental effort, that conscious emotionality, are poor mates to breed from, and that true parturition comes of a deep, instinctive, subconscious desire. That true art, springing fresh from Nature, must have in it, to live, much of the glance of an eye, much of the sound of a voice, much of the life of a life.
That Nature is strong, generous, comprehensive, fecund, subtile: that in growth and decadence she continually sets forth the drama of man's life.
That, thro' the rotating seasons, thro' the procession of the years, thro' the march of the centuries, permeating all, sustaining all, there murmurs the still, small voice of a power that holds us in the hollow of its hand.”

Louis Sullivan (1856–1924) American architect

Emotional Architecture as Compared to Intellectual (1894)

Love, Life, School, Art

“Poetry is what looks like poetry, what sounds like poetry. It is metrical composition.”

J. V. Cunningham (1911–1985) American writer

'Poetry, Structure and Tradition' Dec 31 1939
General

“Anything good that I have written has, at some point during its composition, left me feeling uneasy and afraid. It has seemed, for a moment at least, to put me at risk.”

Michael Chabon (1963) Novelist, short story writer, essayist

The Recipe for Life http://www.fiu.edu/~weitzb/Golem-Recipe-for-Life.htm, The Washington Book World (2000)

Feeling

“These little compositions are the expression of my happiness and that is why perhaps I am particularly fond of them.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

On Her paintings from January to May 1938 done at Saraya including Elephants Bathing.
Sikh Heritage,Amrita Shergil

Happiness

“An object which is used to create instances, i. e., a template, description, pattern, or "blueprint" of a category or collection of very similar items. Among other things, a class describes the interface the these items will present to the outside world, i. e., the available and appropriate methods, constants, and exceptions. A class represents an abstraction of the items. A class may itself be parameterized (i. e., it actually represents a family of very closely related classes), in which case we refer to it as a parameterized class. Class is a recursive concept. Specifically, we may define classes as being composed of other classes (i. e., heterogeneous composite classes and homogeneous composite classes), in terms of itself (a recursively defined class), as inheriting characteristics from one or more other classes (i. e., the superclasses of the class), and as providing characteristics to other classes (i. e., the subclasses of the class). In some places, classes are defined as "the set of all instances of a type," and the term "type" is given the above definition for class.”

Edward V. Berard

Source: Essays on object-oriented software engineering (1993), p. 328

World, Family

“In the strife between the North and the South there was no bitterness in Mr. Lincoln's composition; he seemed to think only that he had an unpleasant duty to perform, and endeavored to perform it as smoothly as possible.”

David Dixon Porter (1813–1891) United States Navy admiral

Source: 1880s, Incidents and Anecdotes of the Civil War (1885), p. 283

Thinking

“Why should five hundred or six hundred titled persons govern us, and why should their children govern our children for ever? I invite a reply from the apologists and the admirers of the House of Lords. I invite them to show any ground of reason, or of logic, or of expediency or practical common sense in defence of the institution which has taken the predominant part during the last few days in the politics of our country. There is no defence, and there is no answer, except that the House of Lords…has survived out of the past. It is a lingering relic of a feudal order. It is the remains, the solitary reminder of a state of things and of a balance of forces which has wholly passed away. I challenge the defenders, the backers, and the instigators of the House of Lords—I challenge them to justify and defend before the electors of the country the character and composition of the hereditary assembly.”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

The People's Rights [1909] (London: Jonathan Cape, 1970), p. 23
Early career years (1898–1929)

Children, Sense, Past, Parting

“I look upon verse as an exercise in composition.”

Marianne Moore (1887–1972) American poet and writer

Authors of 1951 Speaking for Themselves NY Herald Tribue 7 Oct 1951
Prose

Exercises

“Arakawa: The manga artist that I look up to the most is Suiho Tagawa, the author of Norakuro. He is the root of my style as an artist. I also love Rumiko Takahashi and Kinnikuman or Ultimate Muscle by Yudetamago. As far as composition and how to draw, I learned that when I was apprenticed to Hiroyuki Eto, the author of Mahoujin Guru Guru for Shonen GanGan.”

Hiromu Arakawa (1973) award winning Japanese manga artist

Interview with mobuta.com (2004)

Love, Learning, Drawing

“I was surprised by photography, which we all use so massively every day. Suddenly, I saw it in a new way, as a picture that offered me a new view, free of all the conventional criteria I had always associated with art. It had no style, no composition, no judgment. It freed me from personal experience. For the first time, there was nothing to it: it was pure picture. That's why I wanted to have it, to show it - not use it as a means to painting, but use painting as a means to photography.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Art, Way, Time, Painting

“I couldn't portray a women in all her natural loveliness.... I haven't the skill. No one has. I must, therefore, create a new sort of beauty, the beauty that appears to me in terms of volume of line, of mass, of weight, and through that beauty interpret my subjective impression. Nature is mere a pretext for decorative composition, plus sentiment. It suggests emotion, and I translate that emotion into art. I want to express the absolute, not merely the factitious woman.”

Georges Braque (1882–1963) French painter and sculptor

Quote of Braque, late 1908; as cited in The wild men of Paris, Gelett Burgess, https://monoskop.org/images/f/f3/Burgess_Gelett_1910_The_Wild_Men_of_Paris.pdf in 'The Architectural Record', p. 405, May 1910; as cited in Braque, by Edwin Mullins, Thames and Hudson, London 1968, p. 34 1908 - 1920

Women, Beauty, Art, Nature

“Regardless of its purpose, the humpback-whale song is the most complex piece of nonhuman composition on earth. Whether it's art, prayer, or booty call, the humpback song is an amazing thing to experience firsthand, and I suspect that even once the science of it is put to bed, it will remain, as long as they sing, magic.”

Christopher Moore book Fluke, or, I Know Why the Winged Whale Sings

Author's notes : Science and Magic
Fluke, or, I Know Why the Winged Whale Sings (2003)

Art, Science, Singing

“I have received your critical essay [of C. L. Ragghianti who visited Morandi's studio frequently and watched him painting] for the catalogue of the Mattioli collection. I must confess that I am not a little disturbed by what you say. I shall say no more. My own desire is to continue to live with a little peace, which is the only thing that still allows me to work. I am sure I am worth much less than what you say. Not out of modesty, believe me. I only wish it were as you say. If you could, please avoid the comparison with Picasso. Furthermore I must point out an error of fact where you say on p. 4 that 'for those who might not know, Morandi draws, tries out plans of his compositions, etc.., etc..' – and you have had the occasion to see the plans of objects on my table. This only serves to immediately recover my position when I reassemble a composition. Nothing more. Another thing…. [tracing the shape of his feet on the floor]…. it's to mark a reference for re-establishing the point of view. Think about this, then. I am grateful for your concern, but believe me when I say it leaves me ill at ease.”

Giorgio Morandi (1890–1964) Italian painter

from his letter of 6 April 1953; as quoted in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 44
1945 - 1964

Peace, Error, Thinking, Drawing

Quotes about composite page 2

Quotes about composite
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