Quotes about composite
page 3

“Pictures have their skeleton, muscles, and skin like human beings. One may speak of the specific anatomy of the picture. A picture representing 'a naked person' must not be created by the laws of human anatomy, but only by those of compositional anatomy. First one builds an armature on which the picture is to be constructed.”

Paul Klee (1879–1940) German Swiss painter

Quote (1908), # 840, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Law, Personality

“But we had no contact with the painters of the Dachau and Worpswede School [where a. o. Paula Modersohn-Becker was settled as starting woman artist]. It was only much later, for instance, that we discovered that Hoelzel had already been experimenting with non-objective compositions as early as 1908. We [the Blaue Reiter artists] were only a group of friends who shared a common passion for painting as a form of self-expression.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

School, Passion, Painting

“Rather by instinct than by guidance, he turned to writing, and his professors or tutors occasionally gave his English composition a hesitating approval; but in that branch, as in all the rest, even when he made a long struggle for recognition, he never convinced his teachers that his abilities, at their best, warranted placing him on the rank-list, among the first third of his class. Instructors generally reach a fairly accurate gauge of their scholars' powers.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The Education of Henry Adams (1907)

Gauge, Teachers

“My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of each experience. I.... merely try to find a color that will fit my sensation. There is an impelling proportion of tones that can induce me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of the composition I strive towards it and keep on working. Then a moment comes when every part has found its definite relationship, and from then on it would be impossible for me to add a stroke to my picture without having to paint it all over again.”

Henri Matisse (1869–1954) French artist

Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 412

Color, Feeling, Nature, Change

“I find it breathtaking […] that when musical composition competitions are held, the contestants often do not submit tapes or records (or live performances) of their works they submit written scored, and the judges confidently make their aesthetic judgements on the basis of just reading the scores and hearing the music in their minds. How good are the best musical imaginations? Can a trained musician, swiftly reading a score tell just how that voicing of dissonant oboes and flutes over the massed strings will sound?”

Daniel Dennett book Consciousness Explained

Consciousness Explained (1991)

Music, Confidence, Imagination, Reading

“There cannot be a greater error than to suppose that the poet does not feel what he writes. What an extraordinary, I might say, impossible view, is this to take of an art more connected with emotion than any of its sister sciences. What — the depths of the heart are to be sounded, its mysteries unveiled, and its beatings numbered by those whose own heart is made by this strange doctrine — a mere machine wound up by the clock-work of rhythm! No; poetry is even more a passion than a power, and nothing is so strongly impressed on composition as the character of the writer. I should almost define poetry to be the necessity of feeling strongly in the first instance, and the as strong necessity of confiding in the second.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Monthly Magazine

Art, Error, Feeling, Confidence

“[Doc Dubois] had been focusing all of his attention in the other direction, on Peach Pit and its iron-rich “children,” PP1, PP2, and PP3, nailing down their exact orbital parameters, taking high-res photographs.
PP3 was especially interesting. It was a congealed glob of mostly iron, similar in composition to Amalthea. It was some fifty kilometers in diameter. And it had a deep cleft on one side, comparable in size to the Grand Canyon, apparently formed by a collision that had rent its outer skin while it was partly congealed. Doob had begun calling PP3 Cleft.”

Neal Stephenson book Seveneves

"Day 700"
Seveneves (2015), Part Two

Children

“And then about whether or not to work from a given in nature. In my view, you [ Van Doesburg ] define this in a rather narrow sense. In the main, I do agree with you that the destruction of the natural, and it reconstruction, must be accomplished according to a spiritual image, but I believe that we should take a broad view here. What is natural does not have to be a representation of something. I'm now working on a thing that is a reconstruction of a starry sky ['Composition, Checkerboard Dark Colours', 1919] and yet I'm making it without a given from nature. Someone who says he uses a theme from nature can be right, but also someone who says he uses nothing at all.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in Mondrian's letter to Theo van Doesburg, 18 April 1919; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, pp. 125-6
1910's

Nature, Sense

“If one had to single out the most revolutionary novelty furnished by Qumran, its contribution to our understanding of the genesis of Jewish literary compositions could justifiably be our primary choice.”

Géza Vermès (1924–2013) British scholar

Introduction, p. 23
The Complete Dead Sea Scrolls in English

Understanding

“Indeed, the "whole bourgeoisie" on whose behalf the government was acting as its "committee" was a composite of a vast multitude of businessmen appearing as a conglomeration of many different and divergent groups and interests.”

Paul A. Baran (1909–1964) American Marxist economist

Source: The Political Economy Of Growth (1957), Chapter Four, Standstill and Movement Under Monopoly Capitalism, II, p. 93

Appearance

“To me, Pollock is the height of American painting. It's very lyrical. Gorky, who is very passionate, can copy a drawing or take a drawing and copy it exactly as a painting, and Miro can too, it's amazing. Miro can do a drawing to paint and that's another training in a sense. So there's a certain mannerism that comes in both of them [three], and probably everything becomes obvious in time. But I don't have that. The line is illustrated or the colour. I'm sure it has great feeling when they're doing it, but it's more towards defining something. It has a certain clarity because it's a complex thing. I'm a painter and my whole balance is not having to think about things. So all I think about is painting. It's the instinct for the placement where all that happens. I don't have to think about it. So I don't think of composition; I don’t think of colour here and there. Sometimes I alter something after. So all I could think is the rush... I cannot make a picture unless everything is working. It's like a state.”

Cy Twombly (1928–2011) American painter

Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 179

Feeling, Thinking, Sense, Passion

“Many of the visions and revelations handed down as having been given by him are spurious. The miracles ascribed to him are all fabrications of Moslem zealots. He expressly and repeatedly disclaimed all miracles excepting the Koran; which, considering its incomparable merit, and the way in which it had come down to him from heaven, he pronounced the greatest of miracles. And here we must indulge a few observations on this famous document. While zealous Moslems and some of the most learned doctors of the faith draw proofs of its divine origin from the inimitable excellence of its style and composition, and the avowed illiteracy of Mahomet, less devout critics have pronounced it a chaos of beauties and defects; without method or arrangement; full of obscurities, incoherencies, repetitions, false versions of scriptural stories, and direct contradictions. The truth is that the Koran as it now exists is not the same Koran delivered by Mahomet to his disciples, but has undergone many corruptions and interpolations.”

Washington Irving (1783–1859) writer, historian and diplomat from the United States

Mahomet and his successors, George P. Putnam, 1850, p. 330-331.
Mahomet and his successors (1849)

Truth, Faith, Beauty, Way

“The creator of the new composition in the arts is an outlaw until he is a classic.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

Composition as Explanation (1926)

Art

“I am, I fully grant, a phenomenon, but not because of any speed in composition. I asked myself the other day, "Who else, on so many issues, has been so right so much of the time?"”

William F. Buckley Jr. (1925–2008) American conservative author and commentator

I couldn't think of anyone.
"On Writing Speedily", first published in The New York Times Book Review (1986); republished in Miles Gone By : A Literary Autobiography (2004), p. 405.

Thinking, Time, Speed

“He loved hitherto-unthought-of, thereafter-unthinkable combinations of instruments. When some extraordinary array of players filed half-proudly, half-sheepishly on to the stage, looking like the Bremen Town Musicians—if those were, as I think they were, a rooster, a cat, a dog, and a donkey—you could guess beforehand that it was to be one of Gottfried’s compositions. His Joyous Celebration of the Memory of the Master Johann Sebastian Bach had a tone-row composed of the notes B, A, C, and H (in the German notation), of these inverted, and of these transposed; and there were four movements, the first played on instruments beginning with the letter b, the second on instruments beginning with the letter a, and so on. After the magnificent group that ushered in the piece (bugle, bass-viol, bassoon, basset-horn, bombardon, bass-drum, baritone, and a violinist with only his bow) it was sad to see an Alp horn and an accordion come in to play the second movement. Gottfriend himself said about the first group: “Vot a bunch!””

Randall Jarrell book Pictures from an Institution

When I asked him how he had thought of it he said placidly: “De devil soldt me his soul.”
Source: Pictures from an Institution (1954) [novel], Chapter 4: “Constance and the Rosenbaums”, p. 136

Love, Sadness, Dogs, Soul

“A musical event in Münich has brought me a great dolt.... an evening of chamber-music by Arnold Schoenberg (Vienna).... the audience behaved loutishly, like school brats, sneezing and clearing their throats, when not tittering and scraping their chairs, so it was hard to follow the music. Can you imagine a music in which tonality (that is, the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky's large composition which also permits no trace of tonality.... and also of Kandinsky's 'jumping spots' in hearing this music [of Schoenberg], which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color). Schönberg proceeds from the principle that the concepts of consonance and dissonance do not exist at all. A so-called dissonance is only a mere remote consonance – an idea which now occupies me constantly while painting..”

Franz Marc (1880–1916) German painter

In a letter to August Macke (14 January 1911); as quoted in August Macke; Franz Marc: Briefwechsel, Cologne 1965; as quoted in Boston Modern - Figurative Expressionism as Alternative Modernism, Judith Bookbinder, University Press of New England, Hanover and England, 2005, p. 35
Franz Marc visited a concert with music of the composer Arnold Schönberg on 11 Jan. 1911 with Wassily Kandinsky, Alexej von Jawlensky, Gabriele Münter and others; they played there compositions of Schönberg he wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1911 - 1914

School, Music, Color, Imagination

“The composition may be ever so carefully worked out, but it must appear unconsciously done. And so it will be best in most cases to depart slightly from precise and symmetrical arrangement, as though unintentionally, lest the endeavor to obey artificial rules betrays itself.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 20

Appearance

“One thing that cannot be denied to the realists: a constant and intense desire to write well, to write artistically. When I think of what they have done in the matter of the use of words, of the myriad verbal effects they have discovered, of the thousand forms of composition they have created, how they have remodelled and refashioned the language in their untiring striving for intensity of expression for the very osmazome of art, I am lost in ultimate wonder and admiration.”

George Moore (novelist) (1852–1933) Irish novelist, short-story writer, poet, art critic, memoirist and dramatist

Source: Confessions of a Young Man http://www.gutenberg.org/files/12278/12278-h/12278-h.htm (1886), Ch. 13.

Art, Thinking

“The Bhagavadgītā presents the doctrine that Kṛiṣṇa Vāsudeva, who helped the Pāṇḍava princes at the battle of Kurukṣetra as Arjuna's charioteer, was Supreme God, a descent of the Absolute into the world of men. Kṛiṣṇa is called Bhagavat, and the poem is a product of the Bhāgavata or Vāsudeva sect, which at the time of its composition was beginning to identify Kṛiṣṇa with Viṣṇu.”

W. Douglas P. Hill (1884–1962) British Indologist

Source: The Bhagavadgītā (1973), p. 1. (1. Problems)

Men, God, World, Time

“To work on stage these days with all the advanced tools developed by the electronic industry, you can’t sit down like in the old days and start noodling around on a three-chord basis. Today you need a kind of structure or even a very complex composition for communicating properly between a bunch of people. Nevertheless, there is still room for musical freedom and even improvisation.”

Edgar Froese (1944–2015) German musician and founder of Tangerine Dream

People, Music, Communication, Freedom

“Hence SELECTION in photography, or at least in landscape and some other branches of work, often takes the place of what in painting becomes voluntary COMPOSITION.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 28

Painting

“I have heard that you have found the secret of engraving on copper on white ground, as Elsheimer did. To bite the plate with acid, he covered the copper with a white paste. He then drew with the point down to the metal, which is of reddish color, and it looked as if he were drawing with red crayon on white paper. I cannot remember the composition of this write paste, although he communicated it to me.”

Peter Paul Rubens (1577–1640) Flemish painter

Quote of Rubens in a letter to Pieter van Veen, 19 June 1622, as cited
1605 - 1625
Source: http://remdoc.huygens.knaw.nl/#/document/remdoc/e12885

Secret, Color, Communication, Past

“Well! according to the sketch your picture [which Whistler sent him in a letter] seems well-composed, the lines of sky, sea, the position of the figures all that seems very, very well done[, ] on opening the letter it struck me immediately, an impression of decorative ornamentation which makes a good picture appeal to the eye as well - upside down and any other way up. Arrangement, layout, composition. etc - mysterious words harmonious laws - in no way conventional - needs of the Artist glory of the Raphael's Michelangelo's etc etc - for me a repetition a hesitation, a matter of feeling - which should also be a law, a mathematical thing, like form, like light, colour[. ] I find similarities with the colour method which works by opposing colours to arrive at a harmony that is to say to make a canvas a complete whole, to put into a small space an image with all the forces all the principles of nature - [instead of showing a part of it]..”

Henri Fantin-Latour (1836–1904) painter from France

quote from a letter of Fantin-Latour, Paris 7-14 October 1862 to James Whistler; from The Correspondence of James McNeill Whistler - Repository: Glasgow University Library http://www.whistler.arts.gla.ac.uk/correspondence/people/display/?cid=1075&nameid=Manet_E&sr=0&surname=&firstname=&rs=1 - System Number: 01075; Call Number: MS Whistler F 6.

Law, Way, Feeling, Mathematics

“The double meanings inherent in the phenomenon both-and can involve metamorphosis as well as contradiction. I have described how the omni-directional spire of the tower of Christ Church, Spitalfields, evolves into a directional pavilion at its base, but a perceptual rather than a formal kind of change in meaning is possible. In equivocal relationships one contradictory meaning usually dominates another, but in complex compositions the relationship is not always constant. This is especially true as the observer moves through or around a building, and by extension through a city: at one moment one meaning can be perceived as dominant; at another moment a different meaning seems paramount.”

Robert Venturi book Complexity and Contradiction in Architecture

4. Contradictory Levels: The Phenomenon of "Both-And" in Architecture
Complexity and Contradiction in Architecture (1966)

Change, Christ

“I will keep for you the small drawings that I usually make beforehand. They don't have any artistic value. I just make them to have some grip for the composition of the print..”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): De kleine teekeningen die ik vooraf meestal maak, zal ik voor je reserveren. Artistieke waarde hebben ze niet, ik maak ze alleen om eenig houvast te hebben voor de opbouw van de druk.. In a letter (nr. 356) to August Henkels, 11 July 1941; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 177 In February 1941 it was his friend and leader of the nl:De Blauwe Schuit (uitgeverij) August Henkels who borrowed Werkman the book of Martin Buber: 'Legends of the Baal Shem'. Werkman promised his friend the preliminary drawings he would make for creating the series of 20 prints of the 'Chassidic Legends' https://www.kb.nl/de-chassidische-legenden 1940's

Drawing

“The nation has been, and is still being, eroded and hollowed out from within by the implantation of large unassimilated and unassimiliable populations—what Lord Radcliffe once in a memorable phrase called "alien wedges"—in the heartland of the state…The disruption of the homogeneous "we", which forms the essential basis of parliamentary democracy and therefore of our liberties, is now approaching the point at which the political mechanics of a "divided community"…take charge and begin to operate autonomously. Let me illustrate this pathology of a society that is being eaten alive…The two active ingredients are grievance and violence. Where a community is divided, grievance is for practical purposes inexhaustible. When violence is injected—and quite a little will suffice for a start—there begins an escalating competition to discover grievance and to remove it. The materials lie ready to hand in a multiplicity of agencies with a vested interest, more or less benevolent, in the process of discovering grievances and demanding their removal. The spiral is easily maintained in upward movement by the repetitions and escalation of violence. At each stage alienation between the various elements of society is increased, and the constant disappointment that the imagined remedies yield a reverse result leads to growing bitterness and despair. Hand in hand with the exploitation of grievance goes the equally counterproductive process which will no doubt, as usual, be called the "search for a political solution"…Indeed, attention has already been drawn publicly to the potentially critical factor of the so-called immigrant vote in an increasing number of worthwhile constituencies. The result is that the political parties of the indigenous population vie with one another for votes by promising remedy of the grievances which are being uncovered and exploited in the context of actual or threatened violence. Thus the legislature finds itself in effect manipulated by minorities instead of responding to majorities, and is watched by the public at large with a bewildering and frustration, not to say cynicism, of which the experience of legislation hitherto in the field of immigration and race relations afford some pale idea…I need not follow the analysis further in order to demonstrate how parliamentary democracy disintegrates when the national homogeneity of the electorate is broken by a large and sharp alteration in the composition of the population. While the institutions and liberties on which British liberty depends are being progressively surrendered to the European superstate, the forces which will sap and destroy them from within are allowed to accumulate unchecked. And all the time we are invited to direct towards Angola or Siberia the anxious attention that the real danger within our power and our borders imperatively demand.”

Enoch Powell (1912–1998) British politician

Speech the Hampshire Monday Club in Southampton (9 April 1976), from A Nation or No Nation? Six Years in British Politics (Elliot Right Way Books, 1977), pp. 165-166
1970s

Lie, Disappointment, Democracy, Imagination

“The impressionistic method leads into a complete splitting and dissolution of all areas involved in the composition, and color is used to create an overall effect of light. The color is, through such a shading down from the highest light in the deepest shadows, sacrified an degraded to a (black-and-white) function. This leads to the destructions of the color as color.”

Hans Hofmann (1880–1966) American artist

Hofmann's quote in: 'Space pictorially realized through the intrinsic faculty of the colors to express volume' in New Paintings by Hans Hofmann (1951); also in Hans Hofmann (1998) by Helmut Friedel and Tina Dickey
1950s

Color, Light

“It is not possible to make such things [paintings of street-views] without the help of photos. How do you want me to make an Amsterdam street. I make thumbnail sketches in my sketchbook. if it's possible I make a study from a window. and a sketch for the details after my choice. The composition is mine anyhow.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Het is niet mogelijk dergelijke dingen te maken zonder hulp van photos. Hoe wil je dat ik een Amsterdamsche straat maak. Ik maak krabbeltjes in mijn schetsboek. als het kan een studie uit een raam. en een schets voor de details maar de keus. De compositie is toch van mij.
after 1886; quoted by Van Veen in G.H. Breitner : fotograaf en schilder van het Amsterdamse stadsgezicht', 1997, p. 28-29; as cited in Van IJs naar Sneeuw - De ontwikkeling van het wintergezicht in de 19de eeuw, Arsine Nazarian Juli 2008, Utrecht, p. 85
Breitner defended himself when he was criticized by his art-dealer in using photography for making his paintings
undated quotes

Photo, Study, Help, Painting

“For the man who considers himself the best critic generally studies sound and unsound composition with equal interest, being no more greedy for lofty utterances to praise than for contemptible ones to ridicule. In this way technique, grandeur, and propriety in the use of the Latin language are particularly underrated by the armchair critics, who, with an insensibility which goes hand in hand with scurrility, and wishing to read only what they may criticize, cannot, by their very abuse of literature, be making a proper use of it.”
Nam qui maxume doctus sibi videtur, dictionem sanam et insanam ferme appetitu pari revolvit, non amplius concupiscens erecta quae laudet quam despecta quae rideat. atque in hunc modum scientia pompa proprietas linguae Latinae iudiciis otiosorum maximo spretui est, quorum scurrilitati neglegentia comes hoc volens tantum legere, quod carpat, sic non utitur litteris, quod abutitur.

Sidonius Apollinaris (430–489) Gaulish poet, aristocrat and bishop

Lib. 3, Ep. 14, sect. 2; vol. 2, p. 59.
Epistularum

Way, Literature, Study, Reading

“In your [ composer Schönberg's ] works, you have realized what I, albeit in uncertain form, have so greatly longed for in music. The independent progress through their own destinies, the independent life of the individual voices in your compositions, is exactly what I am trying to find in my painting.”

Wassily Kandinsky (1866–1944) Russian painter

in his letter to Arnold Schönberg, 18 Jan. 1911; as cited in Schonberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9
Kandinsky visited a concert with music of Schönberg on 11 Jan. 1911 with Franz Marc, Alexej von Jawlensky, Gabriele Münter and others; they played compositions, Schönberg wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1910 - 1915

Life, Music, Painting

“A composition should be simple and clear. That is why the drawings of children and primitives are so strong.”

George Grosz (1893–1959) German artist

In the 1930's Grosz encouraged as art-teacher his students at the Art Students League in New York to study children's drawings
Source: a student's unpublished papers 'Notes on Drawing and Water Golor, 1935-36', George Grosz estate, Princeton, N.J.; as quoted in: George Grosz: Leben und Werk, ed. Uwe M. Schneede; Verlag Gerd Hatje, Stuttgart 1975, p. 38

Children, Strong, Drawing

“And yet, none of this is accidental. As we have seen in the texts that we have surveyed in this book, it is all part of a line. India turns out to be a recent construct. It turns out to be neither a country nor a nation. Hinduism turns out to be an invention – surprised at the word? You won’t be a few pages hence – of the British in the late nineteenth century. Simultaneously, it has always been inherently intolerant. Pre-Islamic India was a den of iniquity, of oppression. Islamic rule liberated the oppressed. It was in this period that the Ganga-Jamuna culture, the ‘composite culture’ of India was formed, with Amir Khusro as the great exponent of it, and the Sufi savants as the founts. The sense of nationhood did not develop even in that period. It developed only in response to British rule, and because of ideas that came to us from the West. But even this – the sense of being a country, of being a nation, such as it was – remained confined to the upper crust of Indians. It is the communists who awakened the masses to awareness and spread these ideas among them.
In a word, India is not real – only the parts are real. Class is real. Religion is real – not the threads in it that are common and special to our religions but the aspects of religion that divide us, and thus ensure that we are not a nation, a country, those elements are real. Caste is real. Region is real. Language is real – actually, that is wrong: the line is that languages other than Sanskrit are real; Sanskrit is dead and gone; in any case, it was not, the averments in the great scholar, Horace Wilson to the House of Commons Select Committee notwithstanding, that it was the very basis, the living basis of other languages of the country; rather, it was the preserve of the upper layer, the instrument of domination and oppression; one of the vehicles of perpetuating false consciousness among the hapless masses.”

Arun Shourie (1941) Indian journalist and politician

Eminent Historians: Their Technology, Their Line, Their Fraud

Books, Religion, Idea, Sense

“Of the eternal corporeal substance (which is not producible ex nihilo, nor reducible ad nihilum, but rarefiable, condensable, formable, arrangeable, and "fashionable") the composition is dissolved, the complexion is changed, the figure is modified, the being is altered, the fortune is varied, only the elements remaining what they are in substance, that same principle persevering which was always the one material principle, which is the true substance of things, eternal, ingenerable and incorruptible.”

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

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

Fashion, Change

“Do you consider, my dear maggotty sir [cosy-name for his friend], what a deal of work history pictures require to what little dirty subjects of coal horses and jackasses and such figures as I fill up with; no, you don't consider anything about that part of the story... But to be serious (as I know you love to be), do you really think that a regular composition in the Landskip [landscape] way should ever be filled with History, or any figures but such as fill a place (I won't say stop a gap) or create a little business for the eye to be drawn from the trees in order to return to them with more glee.”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote from Gainsborough's letter to his friend William Jackson of Exeter, from Bath 23 Aug. 1767; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 379 (Appendix A - Letter I) 1755 - 1769

Love, Way, History, Business

“Composition, even when we have no idea of appearing in print, is an excellent dietetic tonic. … The best and quickest mode of banishing a painful impression, or a torturing feeling, is to give it expression in words. We thus relieve the mind from present, and fortify it against future pangs.”

Ernst, Baron von Feuchtersleben (1806–1849) Austrian psychiatrist, poet and philosopher

The Dietetics of the Soul; Or, True Mental Discipline (1838)

Pain, Feeling, Idea, Appearance

“[Weather Report] has never put out a record that we didn’t believe in, and there’s no way in the world that anybody was ever involved in a one star album. This is a heavy thing, man. I mean, even if somebody doesn’t like the record, just for the compositions alone it’s got to be five stars. We played it very well; we worked hard on this record. Anybody who gives this record one star has got to be insane.”

Joe Zawinul (1932–2007) austrian composer and pianist

As quoted in Birnbaum, Larry, “Weather Report Answers Its Critics,” Down Beat, Feb. 8, 1979, pp. 44-45. Down Beat Magazine. http://www.weatherreportdiscography.org/mr-gone/

World, Way, Star, Weather

“Speed is scarcely the noblest virtue of graphic composition, but it has its curious rewards. There is a sense of getting somewhere fast, which satisfies a native American urge.”

James Thurber (1894–1961) American cartoonist, author, journalist, playwright

Preface to A Thurber Garland (1955)
From other writings

Sense, Speed

“Expression, to my way of thinking, does not consist of the passion mirrored upon a human face or betrayed by a violent gesture. The whole arrangement of my picture is expressive. The place occupied by figures or objects, the empty spaces around them, the proportions – everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter’s disposal for the expression of his feelings”

Henri Matisse (1869–1954) French artist

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

Art, Way, Feeling, Thinking

“Scenario: In the summer of 1977 The Human League was formed due to the members finding no conventional channels for their immense talents.
Background: None of The Human League have any orthodox musical training, but prefer to regard compositions as an extension of logic, inspiration and luck. Therefore, unlike conventional musicians, their influences are not so obvious.
Conclusion/Manifesto: Interested in combining the best of all worlds, The League would like to positively affect the future by close attention to the present, allying technology with humanity and humour. They have been described as 'Later Twentieth Century Boys' and 'Intelligent, Innovatory and Immodest.”

Philip Oakey (1955) English pop singer

Press release by Philip Oakey about the The Human League's first single "Being Boiled" (April 1978), quoted in "Blind Youth - The Way It Was : Fast Product" http://home.freeuk.net/blindyouth/Product.htm

World, Music, Intelligence, Boy

“So it was that I gave about 1949 my 'Lecture on Nothing' at the Artists' Club on Eighth Street in New York City (started by Robert Motherwell), which predated the popular one associated with Philip Pavia, Bill de Kooning, et al. ). This 'Lecture on Nothing' was written in the same rhythmic structure I employed at the time in my musical compositions (Sonatas and Interludes, Three Dances, etc.). One of the structural divisions was the repetition, some fourteen times, of a single page in which occurred the refrain, 'If anyone is sleepy let him go to sleep.' Jeanne Reynal, I remember, stood up part way through, screamed, and then said, while I continued speaking, 'John, I dearly love you, but I can't bear another minute.' She then walked out. Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen.”

John Cage (1912–1992) American avant-garde composer

Quote in: 'Silence: lectures and writings by John Cage'; publisher Middletown, Conn. Wesleyan University Press, June 1961, Foreword/ix
1960s

Love, Music, Way, Question

“Knowledge of instrumentation should be acquired through experience. Instrumental composition should be conceived instrumentally, imagining and hearing a particular orchestra for each particular and diverse musical condition of the mind.”

Francesco Balilla Pratella (1880–1955) Italian composer

Source: Technical Manifesto of Futurist Music (1911), p. 82

Music, Imagination, Knowledge

“Regarding my childhood, my grandmother could play by ear and she loved to hear me practice and would say after every piece, "That was pretty. Play that one again." She was a booster. I had two women piano teachers who encouraged me to compose--Margie Murphy and Helen Lipscomb. Helen was also a composer and we used part of my lessons for composition.
When I was in high school, I read John Cage's books and fell in love with the ideas and the excitement of the avant garde. My music, as a result, moved over to what has been called post-Cagian, non-academic. That lasted until about 1979 at which point I changed. My music is now quite lyrical, sometimes called neo-Romantic, and full of cut-ups/collage of newly composed materials. Since 1985 I have been composing mostly swales for various instrumental combinations.
A swale is a meadow or a marsh where there is nourishment and moisture and therefore, a rich diversity of plant life. My work, since 1984, has been made from swatches (of newly composed music, rather than found music) which are reminiscent of this diversity…”

Beth Anderson (1950) American neo-romantic composer

Anderson (1996-2011) "Beth Anderson, Composer, Miscellany From The Dark Past" at beand.com http://www.beand.com/, Last Updated January 3, 2011

Love, Life, Women, Books

“In fact I am beginning to see a way to provide a place for my line. I am at last finding my way out of the dead-end of ornament where I found myself one day in 1907! With new strength from my naturalistic études [studies], I may dare to give form to enter my prime real of psychic improvisation again. Bound only very indirectly to an impression of nature, I may again dare to give form to what burdens the soul. To note experiences that can turn themselves into linear compositions even in the blackest night. Here a new creative possibility has long since been awaiting me, which only my frustration resulting from isolation interfered with in the past. Working in this way, my real personality will express itself, will be able to emancipate itself into the greatest freedom.”

Paul Klee (1879–1940) German Swiss painter

Quote (1908), # 840, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html 1903 - 1910

Way, Soul, Nature, Study

“The interpretation reflects my deepest respect for the major composition of the musical literature.”

Burkard Schliessmann classical pianist

Talkings on Bach

Music, Literature

“And here I hold that a liberal and brotherly welcome to all who are likely to come to the United States is the only wise policy which this nation can adopt. It has been thoughtfully observed that every nation, owing to its peculiar character and composition, has a definite mission in the world. What that mission is, and what policy is best adapted to assist in its fulfillment, is the business of its people and its statesmen to know, and knowing, to make a noble use of this knowledge. I need not stop here to name or describe the missions of other or more ancient nationalities. Our seems plain and unmistakable. Our geographical position, our relation to the outside world, our fundamental principles of government, world-embracing in their scope and character, our vast resources, requiring all manner of labor to develop them, and our already existing composite population, all conspire to one grand end, and that is, to make us the perfect national illustration of the unity and dignity of the human family that the world has ever seen. In whatever else other nations may have been great and grand, our greatness and grandeur will be found in the faithful application of the principle of perfect civil equality to the people of all races and of all creeds. We are not only bound to this position by our organic structure and by our revolutionary antecedents, but by the genius of our people. Gathered here from all quarters of the globe, by a common aspiration for national liberty as against caste, divine right govern and privileged classes, it would be unwise to be found fighting against ourselves and among ourselves, it would be unadvised to attempt to set up any one race above another, or one religion above another, or prescribe any on account of race, color or creed.”

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

1860s, Our Composite Nationality (1869)

People, World, Family, Faith

“In the case of a novel, or any imaginative work, especially if the tone is poetic, my own preference is for ending with a touch of symbolism which shall leave the reader brooding. A fine novel, a well-written story, "proves" nothing. Certain characters have played their parts, life goes on, and the final passage may be allowed to remain with one foot in the air, as is the case with some of Chopin's conclusions. But there is no absolute rule in such matters, and there are epic novelists who like to end on a powerful crescendo, as Ravel does in Bolero, or Dvorak in the New-World Symphony. Composition has features which are common to all the arts, and the author can learn as much about his business in the concert hall as in the library.”

André Maurois (1885–1967) French writer

The Art of Writing

Life, World, Art, Imagination

“Everything I did was deprecated by the media and others. I think I derived my strength from it. There was brouhaha over my singing my own compositions. I wondered why I cannot choose words to express myself. That’s what Tyagaraja did. He described Rama the way he saw him. Ironically many of my works are now being used by musicians and dancers. It’s heartening though. I never expected to reach where I am today. I learned music without knowing it will one day become my calling.”

M. Balamuralikrishna (1930–2016) Carnatic vocalist, instrumentalist and playback singer

Source: Chitra Swaminathan "He defines ‘style’ as tradition".

Music, Way, Thinking, Learning

“A man on a park bench has a lonely final look, as if to say: “Reduce humanity to its ultimate particles and you end here; beyond this single separate being you cannot go.” But if you look back into his life you cannot help seeing that he is separated off, not separate—is a later, singular stage of an earlier plural being. All the tongues of men were baby talk to begin with: go back far enough and which of us knew where he ended and Mother and Father and Brother and Sister began? The singular subject in its objective universe has evolved from that orginal composite entity—half subjective, half objective, having its own ways and laws and language, its own life and its own death—the family.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 3; opening
The Third Book of Criticism (1969)

Life, Death, Men, Family

“Approaching it in one way, I see no essential difference between a line one calls 'abstract' and a 'fish'. But rather an essential likeness. This isolated line and the isolated fish alike are living beings with forces peculiar to them, though latent. They are forces of expression for these beings and of expression on human beings, because each has an impressive 'look' which manifests itself by its expression. But the voice of these latent forces is faint and limited. It is the environment of the line and the fish that brings about a miracle: the latent forces awaken, the expression becomes radiant… The environment is the composition. The composition is the organized sum of the interior functions (expressions) of every part of the work.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, in Paris, March 1935; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 451
1930 - 1944

Way, Fish, Parting

“The chief foundations of all states, new as well as old or composite, are good laws and good arms; and as there cannot be good laws where the state is not well armed, it follows that where they are well armed they have good laws.”

Niccolo Machiavelli book The Prince

Source: The Prince (1513), Ch. 12; translated by W. K. Marriot

Law

“Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.”

Willa Cather (1873–1947) American writer and novelist

"Light on Adobe Walls"
Willa Cather on Writing (1949)

Truth, Art, Feeling, Imagination

“After having passed through the various phases of plastic creation [the phases of arrangement, composition, and construction] I have arrived at the creation of 'universal forms' through constructing upon an arithmetical basis with the pure elements of painting.”

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

Quote in Van Doesburg's article 'From intuition towards certitude', 1930; as quoted in 'Réalités nouvelles', 1947, no. 1, p. 3
1926 – 1931

Universe, Painting

“[.. according to Gauguin ] the impression of nature must be wedded to the aesthetic sentiment which chooses, arranges, simplifies and synthesizes. The painter ought not to rest until he has given birth to the child of his imagination.... begotten in a union of his mind with reality. Gauguin insisted on a logical construction of composition, on a harmonious apportionment of light and dark colors, the simplification of forms and proportions, so as to endow the outline's of forms with a powerful and eloquent expression.... He also insisted upon luminous and pure colors.”

Paul Sérusier (1864–1927) French painter

Paul Sérusier's quote in 1888, about Paul Gauguin; in Pierre Bonnard, John Rewald; MoMA - distribution, Simon & Schuster, New York, 1918, p. 13
Sérusier encountered in his summer vacation in Pont-Aven in Brittany [Summer 1888], briefly Paul Gauguin. He also made there a small landscape, painted under Gauguin's direction. Back in Paris, October 1888, Sérusier explained his Nabis friends (Denis, Pierre Bonnard and Vuillard) the artistic lessons Paul Gauguin taught him - as reported by John Rewald in his book Pierre Bonnard, p. 13-14

Color, Imagination, Birth, Nature

“Even discourse which does not acknowledge "musical coherence" as "intellectual communication" does not in fact succeed in treating it as anything else; it is only by locating their concerns in domains where the "musical" aspects of music are peripherally or not at all involved that musical discourses can circumvent the fact that when the "object of thought" consists of the contents of a musical composition just the recognition of the identities of any of these contents (or even of the undivided single identity of them taken all together as a "unit") involves (to varying degrees) the same considerations that are involved in a discourse that explicitly--and hence with a better chance of cognitive particularity--regards such a composition as an instance of communicative thought.”

Benjamin Boretz (1934) American composer

from Meta-Variations: studies in the foundations of musical thought Red Hook, N.Y. : Open Space, 1995.

Music, Communication, Chance

“Whatever the apparent aim of the artist, he is called upon first to move the spectator, after having been himself struck by a design or color composition which may or may not have a relation to natural objects. His predilections, his preferences, crystallize afterwards in the choice of means to interpret those natural objects; these means are always, obligingly, of imaginary essence.”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 429
1940 - 1960

Color, Nature

“It is said that it is not good for man to be alone. This is true, not only in the sense in which our women’s rights’ friends so zealously and wisely teach, but it is true as to nations. The voice of civilization speaks an unmistakable language against the isolation of families, nations and races, and pleads for composite nationality as essential to her triumphs. Those races of men who have maintained the most distinct and separate existence for the longest periods of time; which have had the least intercourse with other races of men are standing confirmation of the folly of isolation. The very soil of the national mind becomes in such cases barren, and can only be resuscitated by assistance from without.”

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

1860s, Our Composite Nationality (1869)

Women, Men, Family, Sense

“I want to warn against being seduced by technology. I don't think that the really interesting materials to use are those miracle plastics and miracle alloys or fiber composites or anything like that. The real miracle materials are the ones which have been abandoned by modern technology. Beautiful land and things like that. I am utterly disenchanted with technology, because the super uses of technology are the ones being used in Vietnam and that, to me, is not beautiful... I don't say no to the new technology, I don't say no to lasers, I don't say no to advanced plastics. The trouble is, people over and over again use new materials, new materials for old purposes. I'm not interested in that. I think by using old materials you've got to find new purposes. In a way, what is abandoned is more of a challenge than what has just been discovered.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 26

People, Beauty, Way, Thinking

“I have endeavoured, in the following treatise, to convey as complete an account of the present state of knowledge on the subject of Differential Equations, as was consistent with the idea of a work intended, primarily, for elementary instruction. It was my object, first of all, to meet the wants of those who had no previous acquaintance with the subject, but I also desired not quite to disappoint others who might seek for more v advanced information. These distinct, but not inconsistent - aims determined the plan of composition.”

George Boole (1815–1864) English mathematician, philosopher and logician

Source: 1850s, A treatise on differential equations (1859), p. v; Lead paragraph of the preface

Disappointment, Idea, Knowledge

“He Kandinsky had always expressed a great interest in abstraction when we visited Tunisia together in 1904. The Moslem interdiction of representational painting seemed to stir his imagination and that was when I first heard him say that objects disturbed him. Between 1907 and 1910 [the period in which Kandinsky painted his first abstract compositions], he began to rely increasingly on his own theories of art, which many of his friends could understand only with great difficulty.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

Art, Imagination, Understanding, Painting

“The picture of the 'New Flower' ['Het Bloempje', 1880] is really one of those I did with much idea of having to express loveliness and youth both in human feeling and in the naturally plants of flowers, and If I may say don't you find, that I have succeed in this composition?”

Jozef Israëls (1824–1911) Dutch painter

Quote from his letter, 23 March 1906, to F.W. Gusaulus in Toledo, (TMA); as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 306
This remark Israëls wrote 26 years after finishing the watercolor; probably it was a gift to the American art-critic
Quotes of Jozef Israels, after 1900

Youth, Feeling, Flowers, Idea

“Not to want to say, not to know what you want to say, not to be able to say what you think you want to say, and never to stop saying, or hardly ever, that is the thing to keep in mind, even in the heat of composition.”

Samuel Beckett book Molloy

Molloy (1951)

Thinking

“There is only one kind of painting: landscape. It is the most difficult. It has also, I believe, the most simple kind of composition. Because no one can stop us from imagining the world in the way that pleases us most.”

André Derain (1880–1954) French painter and engraver

Quote from Derain's letter to Maurice de Vlaminck, c. 1906; as cited in 'Report: André Derain's 'Trees by a Lake', by Cleo Nisse and Francesca Whitlum-Cooper http://courtauld.ac.uk/wp-content/uploads/2015/06/Report-Derain-by-F-Whitlum-Cooper-and-Cleo-Nisse.compressed.pdf, p. 5

World, Way, Imagination, Painting

“Just as towers and crenellations indicated a building’s status, so the crenellated wall signified a castle in the visual arts and in that distinctive medieval sign language known as heraldry. The heraldic symbol of the kingdom of Castile, for example, consisted of a wall and three crenellated towers. This simple composition was easily recognized and reproduced.”

Marilyn Stokstad (1929–2016) art historian

Source: Medieval castles (2005), Ch. 4 : The Castle as Symbol and Palace

Art

“Friends, don't be afraid to go home. The Heavenly Father is waiting. Not because He wants to give you a whipping. Not because He wants to rub your nose in your failures, but because He had a Son who was a composite failure. He had a Son who tried to have this great ministry, had thousands of followers. His Son chose for Himself, He had twelve people on His staff. In three years' time He had managed to alienate every person in one way or another. He died His Father's Son, stricken with grief, so overloaded with guilt that He had to look away, His Father could not look at Him.”

Rich Mullins (1955–1997) American christian musician

Plymouth, Michigan http://www.kidbrothers.net/words/concert-transcripts/plymouth-michigan-aug1597.html (August 15, 1997) In Concert

People, Way, Home, Failure

“The current language Pāṇini describes is very close in structure to the late Vedic found in certain Brāhmaṇa texts. As noted earlier, scholars have recognized other varieties of Sanskrit. Epic Sanskrit is so called because it is represented principally in the two epics, Mahābhārata (“Great Epic of the Bhārata Dynasty”) and Rāmāyaṇa (“Romance of Rāma”). In the latter the term saṃskṛta ‘adorned, cultivated, purified (by grammar)’ is encountered, possibly for the first time with reference to the language. The date of composition for the core of early Epic Sanskrit is considered to be in the centuries just preceding the Common Era.”

Pāṇini ancient Sanskrit grammarian

Prof. George Cardona in:"Indo-Aryan languages".

Time

“A Greek architect of the great epoch would no more have thought of omitting the mark of the harmonic scale of proportion, on which the design was based, than would the composer of music think of omitting the harmonic scale of his composition.”

Ernest Flagg (1857–1947) American architect

Source: Small Houses: Their Economic Design and Construction (1922), Ch. II

Music, Thinking

“In selecting our subject…there are two factors which it should be borne in mind are essential, and these are Expression and Composition”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 16

“I like to take things easy. I don't constantly think about music. I never plan concerts, practise or even hum. When I go up on the stage, music courses through me. My family members attend my concerts because they do not hear me sing at home. I have entrusted you [Prince Rama Varma] with the task of popularising my style of singing among others, especially in foreign countries. I have heard some of your foreign students sing my compositions and was surprised. They sound better than many Indian students. I want to be known more as a composer than as a musician. You are now making this happen.”

M. Balamuralikrishna (1930–2016) Carnatic vocalist, instrumentalist and playback singer

Source: Interview by Prince Rama Varma "There's no one way to teach".

Family, Music, Home, Thinking

“…The fortress of Badalgarh, which lies below the fortress of Gwaliar, a very lofty structure, was taken from Rai Man Singh and fell into the hands of the Muslims, and a brazen animal which was worshipped by the Hindus also fell into their hands, and was sent by them to Agra, whence it was sent by Sultan Ibrahim to Dihli, and was put over the city gate. The image was removed to Fathpur in the year AH 992 (AD 1584), ten years before the composition of this history, where it was seen by the author of this work. It was converted into gongs, and bells, and implements of all kinds.”

`Abd al-Qadir Bada'uni book Muntakhab-ut-Tawarikh

Sultan Ibrahim Lodi (AD 1517-1526) Gwalior (Madhya Pradesh)
Muntakhab-ut-Tawarikh

History, Animals

“This is the moment which I call epiphany. First we recognise that the object is one integral thing, then we recognise that it is an organised composite structure, a thing in fact: finally, when the relation of the parts is exquisite, when the parts are adjusted to the special point, we recognise that it is that thing which it is. Its soul, its whatness, leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany.”

James Joyce book Stephen Hero

Stephen Hero (1944)
Context: Now for the third quality. For a long time I couldn't make out what Aquinas meant. He uses a figurative word (a very unusual thing for him) but I have solved it. Claritas is quidditas. After the analysis which discovers the second quality the mind makes the only logically possible synthesis and discovers the third quality. This is the moment which I call epiphany. First we recognise that the object is one integral thing, then we recognise that it is an organised composite structure, a thing in fact: finally, when the relation of the parts is exquisite, when the parts are adjusted to the special point, we recognise that it is that thing which it is. Its soul, its whatness, leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany.

Soul, Appearance, Parting

“I learned 60 compositions in drut laya within a year.”

Gangubai Hangal (1913–2009) Indian singer

When she was thirteen learned it from her first guru Krishna Acharya, in Khyāl: Creativity Within North India's Classical Music http://books.google.co.in/books?id=MiE9AAAAIAAJ&pg=PA192, p. 192

Learning

“I think one of the things if you look at minimalism or expressionism, there's various movements in modern composition that I think you can see really natural relations in pop music, so I mean I always look to that in pop music.”

Patrick Stump (1984) American musician

AbsolutePunk.net, Patrick Stump, Part 2 - 10.13.08

Music, Nature, Thinking

“A great composition to me is.. an incarnation of a genius, of all that was ever in him of the slightest consequence.”

Neville Cardus (1888–1975) English writer

Preface to Ten Composers, August 1944.

“A street is not a street without people.. the composition was incidental to the people.”

L. S. Lowry (1887–1976) British visual artist

Interview tapes Cotton & Mullineux

People

“.. it was Seurat who first and most successfully established a balance between subject, composition and technique.... the modern world that Seurat wished to paint... I understood his importance as soon as I arrived in Paris [1906]... I chose Seurat as my master for once and for all.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 35; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 12

World, Painting

“Through instrumental music, I’m allowed to come up with musical ideas that allow the listener to create their own impression of my song. If you add lyrics about a girl in the song, the listener doesn’t have a choice of what the song is about, it’s told to them. My musical writings allow me to express anything. It’s easier for me to tell a story of something I’ve encountered this way then to verbalize it. And my feelings are explored more in my compositions compared to what I could ever say in a few sentences.”

Bradley Joseph (1965) Composer, pianist, keyboardist, arranger, producer, recording artist

[Janus, Cicily, Radinsky, Ned, http://newfaceofjazz.com/?page_id=594, New Faces of Jazz: Bradley Joseph, (newfaceofjazz.com), 2010-08-01]

Music, Way, Feeling, Girl

“In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Robert Morris, Sonia Sheridan, and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer’s role as an inextricable part of the system. Jack Burnham’s 1968 Artforum essay “Systems Aesthetics” and his 1970 “Software” exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. Systems https://books.google.nl/books?id=Ip_0rQEACAAJ, 2015. Overview

Art, Music, Science, Change

“there is no cultural identity in a population without a stable ethnic composition. The alteration of a country’s ethnic makeup amounts to an alteration of its cultural identity.”

Viktor Orbán (1963) Hungarian politician, chairman of Fidesz

Country

“The rights of all private property owners, even those whose actions decent people find abhorrent, must be respected if we are to maintain a free society… Federal bureaucrats and judges cannot read minds to see if actions are motivated by racism. Therefore, the only way the federal government could ensure an employer was not violating the Civil Rights Act of 1964 was to ensure that the racial composition of a business's workforce matched the racial composition of a bureaucrat or judge's defined body of potential employees… Racial quotas have not contributed to racial harmony or advanced the goal of a color-blind society. Instead, these quotas encouraged racial balkanization, and fostered racial strife… Relations between the races have improved despite, not because of, the 1964 Civil Rights Act.”

Ron Paul (1935) American politician and physician

The Trouble With the '64 Civil Rights Act
LewRockwell.com
2004-06-03
http://www.lewrockwell.com/paul/paul188.html
2000s, 2001-2005

People, Color, Way, Motivation

“A willingness to satisfy contradictory objections to one's manner of writing might turn one's work into the donkey that finally found itself being carried by its masters, since some readers suggest that quotation marks are disruptive of pleasant progress; others, that notes to what should be complete are a pedantry or evidence of an insufficiently realized task. But since in anything I have written, there have been lines in which the chief interest is borrowed, and I have not yet been able to outgrow this hybrid method of composition, acknowledgements seem only honest. Perhaps those who are annoyed by provisos, detainments, and postscripts could be persuaded to take probity on faith and disregard the notes.”

Marianne Moore (1887–1972) American poet and writer

The Complete Poems of Marianne Moore (1967), "A Note On The Notes", p. 262

Faith

“Luxembourg itself, being a multiculturai and multilingual State by its history, its geographical location and the composition of its population, has often played a role of mediator between the interests of its large European neighbours and within the European Union.”

Henri of Luxembourg (1955) Grand Duke (head of state) of the Grand Duchy of Luxembourg

Address to the United Nations (26 September 2012)
Luxembourg

History

“Learn by heart the forms to be found in nature, so that you can use them like the notes in a musical composition. That is what these forms are for. Nature is a marvelous chaos, and it is our job and our duty to bring order into that chaos and – to perfect it.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Beckmann's lecture 'Drei Briefe an eine Malerin' ('Three letters to a Woman-painter'), New York and Boston, Spring 1948; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 214
1940s

Music, Nature, Learning, Heart

“Examining the musical language of Prokofiev in a more detailed way, we must acknowledge that for him melody was always the most important element of music, one that determined the quality of the composition”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language

Music, Way

“I covered the walls of both basement rooms with Milino, a cheap substitute for canvas, stretched string backwards and forwards across the rooms and attached widths of packing-paper to them, so that they reached down to the floor and as far as the walls that I wanted to paint. I wanted to create a labyrinth which would somehow help to prevent a compositional idea from establishing itself all too quickly. I had the idea of working on all the walls pretty well at the same time, as if they were one large painting completely surrounding me. By constantly wandering in the labyrinth I sought to realise a form of “de-composition.””

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 114 (1985)

Idea, Time, Help, Painting

“When I read the rules of criticism, I immediately inquire after the works of the author who has written them, and by that means discover what it is he likes in a composition.”

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

No. 115.
The Guardian (1713)

Reading

“If you make the light dominate too much, the breadth of the planes leads to the absence of half tints, and consequently to discoloration; the opposite abuse is harmful above all in big compositions destined to be seen from a distance, like ceilings, etc. In the latter form of painting, Paul Veronese goes beyond Rubens through the simplicity of his local color and his breadth in handling the light... Veronese had greatly to strengthen his local color in order that it should not appear discolored when immunized by the very broad light he threw on it.”

Eugène Delacroix (1798–1863) French painter

Quote in Delacroix's Journal of 1850; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 230 – 231
1831 - 1863

Color, Light, Appearance, Painting

“Some days I have to give right in to the blues
Despite how I try to keep fightin'.
It's a sure shot I'm going to lose.
And I'll tell you why.
You think I'm crazy.
It's such a sad composition.
But can you blame me
For what's been causing my bad disposition?
Ain't nothing new with my blue situation
And nothing's fine it's just a minor variation.”

Billy Joel (1949) American singer-songwriter and pianist

A Minor Variation.
Song lyrics, River of Dreams (1993)

Sadness, Thinking

“I worked hard the whole day, so that I am very tired now. Yesterday I made the sketch of the castle [in Vorden] on the canvas and today I painted the sky, the whole day long. I made the composition even more simple by leaving out the creel; the air is painted in the spirit of the [ Swartzwald [? ], but much more stronger and sadder. I hope to show the people how beautiful, how profoundly poetical the castle [is].... please save this thumbnail-sketch [drawn in the letter, on the same paper] and also my previous letter. Who knows the descendants - when reading them, and looking at the sketch - will say: Look, it was in this way how Bilder's very lovely painting was discussed at the House 't Velde, and how it came into life in Vorden. Good-by, my dear Lady..”

Johannes Warnardus Bilders (1811–1890) painter from the Northern Netherlands

translation from Dutch, Fons Heijnsbroek version in original Dutch (citaat van Johannes Warnardus Bilders' brief, in het Nederlands:) Ik heb den gehelen dag hart gewerkt. Zoo dat ik erg moede ben. gisteren had ik de schets van t kasteel [in Vorden] op t' doek gebracht en vandaag heb ik de gehelen dag aan de lucht geschildert , ik heb de compositie nog eenvoudiger gemaakt door de vischkaar weg te laten; de lucht is in de geest van t [Swartzwald[?], maar nog veel sterker en droeviger, ik hoop de menschen te laten zien, hoe schoon, hoe diep poetisch, het kasteel bi.. ..bewaar de krabbel èn ook mijn voorgaande brief, wie weet als het nageslacht, die dan leest, en de krabbel ziet of ze dan niet zeggen, zie op deze wijze kwam dit schoonste schilderij van Bilders in t leven, t werd op ’t Velde besproken, en te Vorden in 't leven geroepen, dag zeer geliefde juffrouw.. J.W. Bilders, in his letter [including a sketch by pen of the landscape with the castle, seen from the garden of the hotel where he stayed] to Georgina van Dijk van 't Velde, from Vorden, 1 Sept. 1868; from an excerpt of the letter https://rkd.nl/nl/explore/excerpts/751236 in the RKD-Archive, The Hague 1860's + 1870's

Love, Life, People, Beauty

“The sense of motion in painting and sculpture has long been considered as one of the primary elements of the composition.”

Alexander Calder (1898–1976) American artist

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

Sense, Painting

“It is true of opinions as of other compositions that those who are seeped in them, whose ears are sensitive to literary nuances, whose antennae record subtle silences, can gather from their contents meaning beyond the words. All this presupposes, of course, a grasp of the nature of the Supreme Court's functions — the scope and limits of its constitutional authority — and often, as well, familiarity with the record and briefs of a particular case whose opinion record and briefs of a particular case whose opinion is under scrutiny.”

Felix Frankfurter (1882–1965) American judge

"'The Administrative Side' of Chief Justice Hughes", 63 Harvard Law Review 1, 2 (1949).
Other writings

Nature, Silence

“Assuming then that immigration already has a foothold and will combine for many years to come, we have a new element in our national composition which is likely to exercise a large influence upon the thought and the action of the whole nation.”

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

1860s, Our Composite Nationality (1869)

Exercises

“The 'Women' [paintings] had to do with the female painted through all ages, all those idols, and maybe I was stuck to a certain extent; I couldn't go on. It did one thing for me: it eliminated composition, arrangement, relationships, light – all this silly talk about line, colour and form – because that was the thing I wanted to get hold of.”

Willem de Kooning (1904–1997) Dutch painter

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 45.
1960's

Women, Age, Light, Painting

“Firstly for the design I decided that the two joined figures should be depicted upright [in Zadkine's first attempt the two brothers were sitting shoulder to shoulder].... two or three days later I was able to send him a photo of my new attempt, in which the two brothers are not only standing, but where the bond – the main idea is projected onto the statue in a hollow, in the heart of the composition the viewer can see a knot of hands, a symbol of the double inspiration.”

Ossip Zadkine (1890–1967) French sculptor

Source: 1940 - 1960, Les frères Van Gogh, origine et justification', c. 1955, pp. 67-69

Photo, Idea, Heart

“You start out with simple concepts,.. All of this beautiful edifice of geometry, for example, comes out of this configuration of lines and points… Think of the simple opening--dum dum dum dum!--of Beethoven's Fifth Symphony. In music you start out with a trivial motif and it turns into this beautiful, intricate composition,… Again, it all stems from this small, very simple idea.”

Noam Elkies (1966) American mathematician

Talking about "a stark, basic principle underpins even the most complex symphony or mathematical application."
Music + Math: A Common Equation?, 1988

Beauty, Music, Idea, Thinking

“It is not the word that is the original material of poetry, rather the letter.
Word is:
1. Composition of letters
2. Sounds
3. Description (meaning)
4. Vehicle for idea associations
Art is uninterpretable, unending; material must be unequivocal in a consistent formation.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter.

Art, Idea

“The Congress, befitting its name of Indian National Congress, had declared itself a representative body of all groups, religious or otherwise, in the country. It was, therefore, its pre-eminent duty to stand steadfast by its commitment to the interests and integrity of the nation as a whole and never succumb to the pressure tactics of any particular section of whatever denomination. However, to the nation's misfortune, the Congress was trapped in the coils of the theories of "composite nation" and "composite culture" and infected with an inferiority complex that unless all communities came to its platform it could not become a national organization. It became nervous at the prospect of being dubbed "communal" if Hindus alone participated in its activities.”

H.V. Sheshadri (1926–2005) Indian writer

Source: The Tragic Story of Partition (1982), p.51

Communication, Country

“True artistic experience is never passive, for the spectator is obliged to participate, as it were, in the continuous or discontinuous variations of proportions, positions, lines and planes. Moreover, he must see clearly how this play of repeated or non-repeated changes may give rise to a new harmony of relations which will constitute the unity of the work. Every part becomes organized into a whole with the other parts. All the parts contribute to the unity of the composition, none of them assuming a dominant place in the whole.”

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

Quote from 'Grundbegriffe der neuen Gestaltenden Kunst', essay by Van Doesburg (published between 1921-23 in De Stijl) - last Chapter; as quoted in 'Fifty Years of Accomplishment, From Kandinsky to Jackson Pollock', by Michel Seuphor, Dell Publishing Co. 1964, p. 86
1920 – 1926

Change, Parting

“And then the wish to make compositions with figures. For this I had to make (quickly I thought; in passing), one or two studies from nature, just enough to understand the construction of a head, of a whole figure, and in 1935 I took a model. This study should take, I thought, two weeks and then I could realize my compositions…I worked with the model all day from 1935 to 1940…Nothing was as I imagined. A head, became for me an object completely unknown and without dimensions.”

Alberto Giacometti (1901–1966) Swiss sculptor and painter (1901-1966)

Alberto Giacometti in: Peter Selz, Alberto Giacometti. Museum of Modern Art in collaboration with the Art Institute of Chicago [and others], distributed by Doubleday, 1965. p. 26

Imagination, Understanding, Nature, Study

“But middle-class Americans, friends of mine, composites of friends of mine, of a liberal bent, nice people, OK people, see nothing wrong with bilingual education. In fact, they wish their own children to be bilingual. In fact, they send their kids to French schools. In fact, they ask if I know of a housekeeper who might inadvertently teach their children Spanish while she dusts under the piano. Nope.”

Richard Rodríguez (1944) American journalist and essayist

Brown : The Last Discovery of America (2003)

Children, People, Education, School

“The chief distinction in the intellectual powers of the two sexes is shewn by man attaining to a higher eminence, in whatever he takes up, than woman can attain — whether requiring deep thought, reason, or imagination, or merely the use of the senses and hands. If two lists were made of the most eminent men and women in poetry, painting, sculpture, music, — comprising composition and performance, history, science, and philosophy, with half-a-dozen names under each subject, the two lists would not bear comparison. We may also infer, from the law of the deviation of averages, so well illustrated by Mr. Galton, in his work on 'Hereditary Genius,' that if men are capable of decided eminence over women in many subjects, the average standard of mental power in man must be above that of woman. … Thus man has ultimately become superior to woman.”

Charles Darwin book The Descent of Man, and Selection in Relation to Sex

volume II, chapter XIX: "Secondary Sexual Characters of Man", pages 327-328 http://darwin-online.org.uk/content/frameset?pageseq=344&itemID=F937.2&viewtype=image The Descent of Man (1871)

Women, Men, Law, Music

Quotes about composite page 3

Quotes about composite
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