Quotes about modernist

A collection of quotes on the topic of modernist, use, news, art.

Quotes about modernist

“Later I had two green ones [alligator pears] — not so perfect. I painted them several times [c. 1920] when the men [American modernist artists, a. o. Marsden Hartley ] didn't think much of what I was doing. They were all discussing Paul Cézanne, with long involved remarks about the 'plastic quality' of his form and colour. I was an outsider. My colour and form were not acceptable. It had nothing to do with Cézanne or anything else. I didn't understand what they were talking about why one colour was better than another... Years later when I finally got to Cézanne's Mont Sainte-Victoire in the south of France, I remember sitting there thinking, 'How could they attach all those analytical remarks to anything he did with that mountain?”

Georgia O'Keeffe (1887–1986) American artist

All those entire words piled on top of that poor little mountain seemed too much.
1970 - 1986, Some Memories of Drawings (1976)

Men, Mountain, Understanding, Thinking

“Modernistic-Abstractionist-Art… consists of 75% explanation and 25% God knows what!”

Maxfield Parrish (1870–1966) American painter and illustrator

Statement to William O. Chessman (27 March 1936); as quoted in Maxfield Parrish by Coy Ludwig (1997)

God, Art

“In Australia during WWII, a couple of established poets invented the supposedly nonsensical works of a fictitious poet called Ern Malley and used them to discredit the modernist pretensions of the young editor who printed them. It never occurred to them that as writers of talent they were not in a position to suppose that they could deliberately write something perfectly meaningless.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Congratulations!', on scams, frauds and hoaxes.
Television and radio, Radio 4: A Point of View

“Consider some of the qualities of typical modernistic poetry: very interesting language, a great emphasis on connotation, "texture"; extreme intensity, forced emotion — violence; a good deal of obscurity; emphasis on sensation, perceptual nuances; emphasis on details, on the part rather than on the whole; experimental or novel qualities of some sort; a tendency toward external formlessness and internal disorganization — these are justified, generally, as the disorganization required to express a disorganized age, or, alternatively, as newly discovered and more complex types of organization; an extremely personal style — refine your singularities; lack of restraint — all tendencies are forced to their limits; there is a good deal of emphasis on the unconscious, dream structure, the thoroughly subjective; the poet's attitudes are usually anti-scientific, anti-common-sense, anti-public — he is, essentially, removed; poetry is primarily lyric, intensive — the few long poems are aggregations of lyric details; poems usually have, not a logical, but the more or less associational style of dramatic monologue; and so on and so on. This complex of qualities is essentially romantic; and the poetry that exhibits it represents the culminating point of romanticism.”

Randall Jarrell book Five Young American Poets

"A Note on Poetry," preface to The Rage for the Lost Penny: Five Young American Poets (New Directions, 1940) [p. 49]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Age, Dreams, Sense, Parting

“The Age of Insight is a product of my subsequent fascination with the intellectual history of Vienna from 1890 to 1918, as well as my interest in Austrian modernist art, psychoanalysis, art history, and the brain science that is my life's work. In this book I examine the ongoing dialogue between art and science that had its origins in fin-de-siècle Vienna…”

Eric R. Kandel (1929) American neuropsychiatrist

The Age of Insight (2012)
Variant: The Age of Insight is a product of my subsequent fascination with the intellectual history of Vienna from 1890 to 1918, as well as my interest in Austrian modernist art, psychoanalysis, art history, and the brain science that is my life's work. In this book I examine the ongoing dialogue between art and science that had its origins in fin-de-siècle Vienna...

Life, Age, Art, History

“My colour has no symbolic function whatever. I don't want any colour to be noticeable. I want the colour to be the colour of life, so that you would notice it as being irregular if it changed. I don't want it to operate in the modernist sense as colour, something independent. I don't want people to say, "Oh, what was that red or that blue picture of yours, I've forgotten what it was."”

Lucian Freud (1922–2011) British painter and engraver

Lucian Freud: Paintings (1987), p. 16
Lucian Freud : Paintings (1987)

Life, People, Sense, Change

“I like to think of myself as the ultimate anti-postmodernist post-modernist. Notwithstanding the unusual narrative or visual devices that appear in many of the films, what have kept me going for the three years of investigating [for The Thin Blue Line, was the belief that there answers to questions such as, Adams did it, didn't he? Or Harris did it, didn't he? That it's not just up for grabs. Today, I believe there's a kind of frisson of ambiguity. People think that ambiguity is somehow wonderful in its own right, an excuse for failing to investigate. What can I say? I think this view is wrong. At best, misguided. Maybe even reprehensible.”

Errol Morris (1948) American filmmaker and writer

Source: The Anti-Post-Modern Post-Modernist http://errolmorris.com/content/lecture/theantipost.html

People, Question, Thinking, Appearance

“[M]any of us came… through a tradition in Western writing that harkens back to and Richard White may have made environmental history "the coolest history around"… but they didn't invent it…. For many writers in the twentieth century, from Webb to the 1937 Committee on the Future of the Great Plains to Frank and Deborah Popper, the Great Plains are the ultimate proving ground of environmentalism's doomsday predictions for the Modernist experiment in a massively altered landscape.”

Dan Flores (1948) American historian

The Natural West: Environmental History in the Great Plains and Rocky Mountains (2003)

History, Future

“The Modernist’s command was Pound’s “Make it New.” The postmodern imperative is “Get it Used.” The more used the better.”

Andrei Codrescu (1946) American writer

“The Shipwreck of Dada and Surrealism,” The Disappearance of the Outside: A Manifesto for Escape (1990).

“Here, then, is another way to understand the intentions of the social theoretical project that this critical analysis of the contemporary situation of social thought prepares and suggests. Philosophical disputes about the social ideal have increasingly come to turn on an unresolved ambivalence toward the naturalistic premise, an incomplete rebellion against it. The visionary imagination of our age has been both liberated and disoriented. It has been liberated by its discovery that social worlds are contingent in a more radical sense than people had supposed; liberated to disengage the ideas of community and objectivity from any fixed structure of dependence and dominion or even from any determinate shape of social life. It has also, however, been disoriented by a demoralizing oscillation between a trumped-up sanctification of existing society and would-be utopian flight that finds in the land of its fantasies the inverted image of the circumstance it had wanted to escape; disoriented by the failure to spell out what the rejection of the naturalistic view means for the vision of a regenerate society. The social theory we need must vindicate a modernist—that is to say, a nonnaturalistic—view of community and objectivity, and it must do so by connecting the imagination of the ideal with the insight into transformation.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: Social Theoryː Its Situation and Its Task (1987), p. 47

Life, People, Age, World

“It belongs to journalism — and to the millennial complex from which so many journalists and journalist intellectuals suffer in our day — that each new phase of Modernist art should be hailed as the start of a whole new epoch in art, marking a decisive break with all the customs and conventions of the past. Each time, a kind of art is expected so unlike all previous kinds of art, and so free from norms of practice or taste, that everybody, regardless of how informed or uninformed he happens to be, can have his say about it. And each time, this expectation has been disappointed, as the phase of Modernist art in question finally takes its place in the intelligible continuity of taste and tradition.Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is — among other things — continuity, and unthinkable without it. Lacking the past of art, and the need and compulsion to maintain its standards of excellence, Modernist art would lack both substance and justification.”

Clement Greenberg (1909–1994) American writer and artist

1960s, Modernist Painting (1960)

Art, Disappointment, Intelligence, Idea

“What theory can we use to get us out of the impending slump quickly and reliably? To use the 'new classical' theory of fluctuations begun at Chicago in the 1970s – the theory in which the "risk management" models are embedded – is unthinkable, since it is precisely the theory falsified by the asset price collapse. The thoughts of some have turned to John Maynard Keynes. His insights into uncertainty and speculation were deep. Yet his employment theory was problematic and the 'Keynesian' policy solutions are questionable at best…. At the end of his life Keynes wrote of 'modernist stuff, gone wrong and turned sour and silly'. He told his friend Friedrich Hayek he intended to re-examine his theory in his next book. He would have moved on. The admiration we all have for Keynes's fabulous contributions should not sway us from moving on.”

Edmund Phelps (1933) American economist

Edmund Phelps "Keynes had no sure cure for slumps."in: The Financial Times. Columbia University, November 4, 2008.

Life, Books, Question

“[Burke] emphasized that the new forms of politics, which hope to organize society around the rational pursuit of liberty, equality, fraternity, or their modernist equivalents, are actually forms of militant irrationality.”

Roger Scruton (1944–2020) English philosopher

"Why I became a conservative," http://newcriterion.com:81/archive/21/feb03/burke.htm The New Criterion (February 2003).

Hope

“Tradition is not, as post-modernists maintain, a library or museum the artist plunders. It is the endless conversation between the living and the dead. Young artists enter into this conversation passionately — not merely intellectually, though study and analysis play a part. They live and breathe it. Tradition is not a public building. It is a love affair.”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

Love, Study, Passion, Parting

“The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself.”

Clement Greenberg (1909–1994) American writer and artist

"T.S. Eliot: A Book Review" (1950/1956), p. 244
1960s, Art and Culture: Critical Essays, (1961)

Art, Literature, Success, Parting

“[T]he project of the modernist visionary: the search for individual and collective empowerment through the dissolution of the prewritten social script.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: False Necessityː Anti-Necessitarian Social Theory in the Service of Radical Democracy (1987), p. 22

“The idea of Islamic renewal, which understands Islam as capable not only of educating human beings but also of ordering the world, will always have two types of people as its opponents: conservatives who want the old forms, and modernists who want someone else's forms.”

Alija Izetbegović (1925–2003) Chairman of the Presidency of Bosnia and Herzegovina

Source: The Islamic Declaration (1970), p. 8.

People, World, Education, Idea

“For the modernist, in contrast, the past is largely irrelevant. The nation is a modern phenomenon, the product of nationalist ideologies, which themselves are the expression of modern, industrial society. The nationalist is free to use ethnic heritages, but nation-building can proceed without the aid of an ethnic past. Hence, nations are phenomena of a particular stage of history, and embedded in purely modern conditions.”

Anthony D. Smith (1939–2016) British academic

As cited by Eric G.E. Zuelow " Anthony D. Smith, Nationalism and the Reconstruction of Nations http://www.nationalismproject.org/what/smith1.htm" on nationalismproject.org. 1999-2007. <br class="br">Gastronomy or Geology? The Role of Nationalism in the Reconstruction of Nations. (1994)

History, Past

“The portraits of the Viennese modernists, with their conscious and dramatic attempts to depict their subject's inner feelings, represent an ideal example of how psychological and biological insights can enrich our relationship with art.”

Eric R. Kandel (1929) American neuropsychiatrist

The Age of Insight (2012)

Art, Feeling

“The modernist thirst for originality makes the mediocre artist believe that the secret of originality consists simply in being different.”

Nicolás Gómez Dávila (1913–1994) Colombian writer and philosopher

Sucesivos Escolios a un Texto Implícito (1992)

Secret

“In recent years, much has been said about the post-modernist claims about science to the effect that science is just another form of raw power, tricked out in special claims for truth-seeking and objectivity that really have no basis in fact. Science, we are told, is no better than any other undertaking. These ideas anger many scientists, and they anger me. But recent events have made me wonder if they are correct.”

Michael Crichton (1942–2008) American author, screenwriter, film producer

Aliens Cause Global Warming (2003)

Truth, Idea, Science, Anger

“Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual.”

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

Laura Riding and Robert Graves from A Survey of Modernist Poetry (London: Heinemann, 1927)

“Tell a dream, lose a reader, said Henry James. Joyce told a dream, Finnegans Wake, and he told it in puns - cornily but rightly regarded as the lowest form of wit. This showed fantastic courage, and fantastic introversion. The truth is Joyce didn't love the reader, as you need to do. Well, he gave us Ulysses, incontestably the central modernist masterpiece; it is impossible to conceive of any future novel that might give the form such a violent evolutionary lurch. You can't help wondering, though. Joyce could have been the most popular boy in school, the funniest, the cleverest, the kindest. He ended with a more ambiguous distinction: he became the teacher's pet.”

Martin Amis (1949) Welsh novelist

Review of Ulysses, p. 446
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

Love, Truth, School, Dreams

“…but defining their sound was Little Girls, an exuberant ska wrapped in an electronic patina, with modernist vocals à la XTC and a touch of dementia.”

Piero Scaruffi (1955) Italian writer

Oingo Boingo The History Of Rock Music http://www.scaruffi.com/vol4/oingo.html

Girl

“The homosexual culture as we have said is at war with God, and there are no negotiations possible in this world. That modernists and atheists would be in the enemy camp should not surprise us. But we know how far gone it is when periodical like Christianity Today carry articles stating that ‘the individual homosexual would appear to be more sinned against than sinning. because his condition is either genetic or environmental in nature, and therefore not his fault.’ Thus we should not be surprised at what is happening today.”

Rousas John Rushdoony (1916–2001) American theologian

Audio lectures, Homosexuality (n. d.)

God, War, World, Nature

“Modernist tasks and liberties have stirred up a canny diffidence among painters of the largest accomplishment when pressed to talk about their art. It appears unseemly, or naive, to have much to say about the pictures or to attach to them any explicit "program." No more theories expounding an ideal way of painting. And, as statements wither and with them counter-statements, hardly anything in the way of provocation either. Decorum suggests that artists sound somewhat trapped when being drawn out, and venturing a few cagey glimpses of intention.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

"About Hodgkin," from Howard Hodgkin Paintings edited by Michael Auping (1995), p. 105,

Art, Way, Appearance, Painting

“When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation…. Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.”

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

Laura Riding and Robert Graves from A Survey of Modernist Poetry (London: Heinemann, 1927)

Thinking

“The idea of a law of progress, or of an all but irresistible tendency to general improvement, is then merely a superstition, one of the tents of the modernist pseudo-religion of humanism. Even if such a law or tendency existed and were demonstrable, the liberal faith in progress would for Santayana be pernicious. For it leads to a corrupt habit of mind in which things are valued, not for their present excellence or perfection, but instrumentally, as leading to something better; and it insinuates into thought and feeling a sort of historical theodicy, in which past evil is justified as a means to present or future good. The idea of progress embodies a kind of time-worship (to adopt an expression used by Wyndham Lewis) in which the particularities of our world are seen and valued, not in themselves, but for what they might perhaps become, thereby leaving us destitute of the sense of the present and, at the same time, of the perspective of eternity.”

John Gray (1948) British philosopher

'Santayana's Alternative' (p.67-8)
Gray's Anatomy: Selected Writings (2009)

World, Faith, Religion, Law

“"Why are they ashamed and miserable?"
"They're repenting they're white. Any thinking human does it. Don't you read your own history books? So if you attack those miserable moderns or modernist, knight, you'll be making a miserable historical mistake. You will be preventing whites from hating their own whiteness."
Don Quixote finally refused the dogs' attack on her attack: "Liberalism has never stopped me from doing anything", said the knight.”

Kathy Acker (1947–1997) American novelist, playwright, essayist, and poet

Don Quixote (1986)

Hate, Books, Dogs, History

“It was the tragedy of modernist artists, Left or Right, that the much more effective political commitment of their own mass movements and politicians - not to mention their adversaries - rejected them. With the partial exception of Futurist-influenced Italian fascism, the new authoritarian regimes of both Right and Left preferred old-fashioned and gigantic monumental buildings and vistas in architecture, inspirational representations in both painting and sculpture, elaborate performances of the classics on stage, and ideological acceptability in literature.”

Eric Hobsbawm book The Age of Extremes

The Arts 1914-1945
The Age of Extremes (1992)

Literature, Fashion, Painting

“When Nicholas II was crowned tsar of Russia in 1894, the country was seething with unrest. Brought up by private tutors, he had little training in the affairs of state. He was dull, reactionary, and an ineffective ruler who was easily influenced.
Although revolution was slowly brewing, Russia on the surface remained a prisoner of its feudal past. In order to maintain the appearance of stability, Nicholas II engaged ina policy of suppreission and later on supported pogroms against Jews.
Such anti-Semitic views were not new. Even before the assassination in 1881 of Alexander II (Nicholas II’s grandfather) the Romanov family had been convinced of p-lots against the tsar.
During his own reign, Nicholas II was easily swayed by strong opinions. He veered from one plan to another depending on the advice of the most articulate in his council. His most trusted adviser was Sergei Yulievich Witte, a clever but sometimes unpopular councilor who was known to have liberal modernistic views regarded as controversial by conservatives, who dominated the court.
Witte had two very resentful enemies…Gorymikine and Rachkobsky, who were associated with the secret police.”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), pp. 21-23

Secret, Family, Support, Strong

“Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness.”

Clement Greenberg (1909–1994) American writer and artist

This is part of the pity of Modernism, one of the sacrifices it enjoins.... <br class="br"> "Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976) <br class="br">1970s

Art, Music, Imagination, Idea

“But since the Modernists (as they are commonly and rightly called) employ a very clever artifice, namely, to present their doctrines without order and systematic arrangement into one whole, scattered and disjointed one from another, so as to appear to be in doubt and uncertainty, while they are in reality firm and steadfast, it will be of advantage, Venerable Brethren, to bring their teachings together here into one group, and to point out the connexion between them, and thus to pass to an examination of the sources of the errors, and to prescribe remedies for averting the evil.”

Pope Pius X (1835–1914) Catholic Pope and saint

Papal encyclical letter "Pascendi dominici gregis" ("Feeding the Lord's Flock") promulgated by Pope Pius X on 8 September 1907.

Error, Reality, Appearance, Evil

“The modernist object does not possess inner life; only internal conflicts.”

Nicolás Gómez Dávila (1913–1994) Colombian writer and philosopher

Sucesivos Escolios a un Texto Implícito (1992)

Life

“Take your children to church, don't send them. Be sure they are getting true religious values, not modernistic debunking.”

W. Cleon Skousen book The Naked Communist

The Naked Communist (1958)

Children

“The terms of the dialectic have reversed: now the subversive task is to affirm an authentic post-modernist optimism that gives full weight to existent horror and possible (or probable) apocalyptic disaster, yet insists — credibly — that we can, well, overcome. The catch is that you have to be an optimist (an American?) in the first place not to dismiss such a project as insane.”

Ellen Willis (1941–2006) writer, activist

"Tom Wolfe's Failed Optimism" (1977), Beginning To See the Light: Pieces of a Decade (1981)
Context: My education was dominated by modernist thinkers and artists who taught me that the supreme imperative was courage to face the awful truth, to scorn the soft-minded optimism of religious and secular romantics as well as the corrupt optimism of governments, advertisers, and mechanistic or manipulative revolutionaries. I learned that lesson well (though it came too late to wholly supplant certain critical opposing influences, like comic books and rock-and-roll). Yet the modernists’ once-subversive refusal to be gulled or lulled has long since degenerated into a ritual despair at least as corrupt, soft-minded, and cowardly — not to say smug — as the false cheer it replaced. The terms of the dialectic have reversed: now the subversive task is to affirm an authentic post-modernist optimism that gives full weight to existent horror and possible (or probable) apocalyptic disaster, yet insists — credibly — that we can, well, overcome. The catch is that you have to be an optimist (an American?) in the first place not to dismiss such a project as insane.

Optimism

“My education was dominated by modernist thinkers and artists who taught me that the supreme imperative was courage to face the awful truth, to scorn the soft-minded optimism of religious and secular romantics as well as the corrupt optimism of governments, advertisers, and mechanistic or manipulative revolutionaries. I learned that lesson well”

Ellen Willis (1941–2006) writer, activist

Truth, Education, Courage, Optimism

“The pure modernist is merely a snob; he cannot bear to be a month behind the fashion.”

G. K. Chesterton book All Things Considered

"The Case for the Ephemeral"
All Things Considered (1908)
Context: It is incomprehensible to me that any thinker can calmly call himself a modernist; he might as well call himself a Thursdayite. … The real objection to modernism is simply that it is a form of snobbishness. It is an attempt to crush a rational opponent not by reason, but by some mystery of superiority, by hinting that one is specially up to date or particularly "in the know." To flaunt the fact that we have had all the last books from Germany is simply vulgar; like flaunting the fact that we have had all the last bonnets from Paris. To introduce into philosophical discussions a sneer at a creed’s antiquity is like introducing a sneer at a lady’s age. It is caddish because it is irrelevant. The pure modernist is merely a snob; he cannot bear to be a month behind the fashion.

Fashion

“It is incomprehensible to me that any thinker can calmly call himself a modernist; he might as well call himself a Thursdayite.”

G. K. Chesterton book All Things Considered

“The Modernist reaction to the Enlightenment came in the aftermath of the Industrial Revolution, whose brutalizing effects revealed that modern life had not become… mathematically perfect…”

Eric R. Kandel (1929) American neuropsychiatrist

The Age of Insight (2012)

Life, Mathematics, Perfection