Quotes about rectangle

A collection of quotes on the topic of rectangle, painting, likeness, paint.

Quotes about rectangle

“Will rolled up his sleeves. "We'll probably have to knock down the door--"
"Or," said Jem, reaching out and giving the knob a twist, "not."
The door swung open onto a rectangle of darkness.
"Now, that's simply laziness," said Will.”

Cassandra Clare book Clockwork Angel

Source: Clockwork Angel

“While I was pursuing the concept of geometrical product, as this idea was established by my father… I concluded that not only rectangles, but also parallelograms, may be viewed as products of two adjacent sides, provided that the sides are viewed not merely as lengths, but rather as directed magnitudes. When I joined this concept of geometrical product with the previously established idea of geometrical sum the most striking harmony resulted. Thus when I multiplied the sum of two vectors by a third coplaner vector, the result coincided (and must always coincide) with the result obtained by multiplying separately each of the two original vectors by the third… and adding together (with due attention to positive and negative values) the two products. [Thus A(B + C) = AB + AC. ]
From this harmony I came to see a whole new area of analysis was opening up which could lead to important results.”

Hermann Grassmann (1809–1877) German polymath, linguist and mathematician

Ausdehnungslehre (1844)

Idea

“A postcard. Neat handwriting fills the rectangle.

Half my days I cannot bear to touch you.
The rest of my time I feel like it doesn’t matter if I will ever see you again. It isn’t the morality, it’s how much you can bear.

No date. No name attached.”

Michael Ondaatje book The English Patient

Source: The English Patient

Feeling, Time

“My idea of painting was that those yellow squares, being put on the wall as delineating a virtual square or rectangle, were involving the wall itself within the piece and, in this sense, compared to what is usually a work of art, a painting, this piece was somehow reversing the usual terms of the esthetic proposition. Usually, you see the painting and you ignore the wall. Here you had the wall coming through the painting — and the painting itself, the painted pieces, become a standpoint to make the wall appear.”

Robert Barry (1936) American artist

Robert Barry (1980) in: Alexander Alberro (2003). Conceptual Art and the Politics of Publicity. Alberro noted: "Barry has since discussed the way in which this painting accented the structural support..."

Art, Idea, Sense, Appearance

“Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas.”

Dore Ashton (1928–2017) art critic

Dore Ashton, "Fritz Glarner," Art International, vol. 7, no. 1, January 1963, p.51; Republished in: National Gallery of Australia, ‎Michael Lloyd, ‎Michael Desmond (1992). European and American Paintings and Sculpturee 1870-1970 in the Australian National Gallery, p. 246

Way, Painting

“My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930.
I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature.
I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

Alexander Calder (1898–1976) American artist

Quote (1951), in 'What Abstract Art Means to Me' http://www.jstor.org/stable/4058250, George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis; as cited in the The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15 <br class="br">1950s - 1960s

Art, Color, Home, Nature

“It's been on my mind – what would something be like if it were unbalanced? It's been a vexing question for a long time. But it took the experience of working with radical kinds of symmetry, not just a rectangle, but a diamond shape, as well as extreme extensions of shapes, before I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel. I came to the fact that unbalancing has its own order. In a peculiar way, it can still end up feeling symmetrical. I don't know but what the very nature of our response to art is experienced symmetrically.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Art, Way, Feeling, Idea

“The little rectangle contradicts the square. And the square is authoritative... The rectangle is pleasant, whereas the square is not.... It's too stiff, too authoritative. My paintings are made up of little rectangles, not little squares There was a scholar who dug up a Tantric drawing that was just like my grid, and it was made of rectangles, too, just exactly like mine... I was surprised. I didn't think anybody had made a grid quite like that.”

Agnes Martin (1912–2004) American artist

1980 - 2000, Perfection Is in the Mind', 1995

Thinking, Drawing, Painting

“I met Sophie Taeuber in Zurich in 1915. Even then she already knew how to give direct and palpable shape to her inner reality. In those days this kind of art was called 'abstract art'. Now it is known as 'concrete art,' for nothing is more concrete than the psychic reality it expresses. Like music this art is tangible inner reality she was already dividing the surface of a watercolor into squares and rectangles which she juxtaposed horizontally and perpendicularly. She constructed her painting like a work of masonry. The colors are luminous, going from rawest yellow to deep red or…. blue.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Arp's quote on his wife, in 'Sophie Taeuber-Arp', Hans Arp; in Arp on Arp: Poems, Essays, Memories, ed. Marcel Jean, transl. Joachim Neugroschel; Viking Press, New York 1972, p. 222
1910-20s

Art, Music, Color, Reality

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

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

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

“When I cover the square surface with rectangles, it lightens the weight of the square. Destroys its power.”

Agnes Martin (1912–2004) American artist

as quoted by Lucy R. Lippard, in 'Hommage to the Square', Art in America, July-August 1967, p. 55
This quote is one of the most frequently quoted statements of Agnes Martin. A later variation by her: 'The rectangle is pleasant, whereas the square is not'; Agnes Martin is than 89 - quoted in A House Divided: American Art Since 1955, Anne M. G. Wagner Univ. of California Press 2012, p. 263
1960's

“The first book by an African American I read was Carl T. Rowan's memoir, Go South to Sorrow. I found it on the bookshelf at the back of my fifth-grade classroom, an adult book. I can remember the quality of the morning on which I read. It was a sunlit morning in January, a Saturday morning, cold, high, empty. I sat in a rectangle of sunlight, near the grate of the floor heater in the yellow bedroom. And as I read, I became aware of warmth and comfort and optimism. I was made aware of my comfort by the knowledge that others were not, are not, comforted. Carl Rowan at my age was not comforted.”

Richard Rodríguez (1944) American journalist and essayist

Brown : The Last Discovery of America (2003)

Books, Age, Optimism, Knowledge

“[the 'Surfboards' - series works Noland made mid-70's] were almost like cut-out figures without being figurative… I think of them, in some way, as being like figures; they remind me of figures in vertical Cubist paintings. Even the small pictures have that kind of human proportion in the rectangles. It's not exactly a reference, but the relation of length to width in the rectangles is like a person.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, pp. 23-24
Conversation with Karen Wilkin' (1986-1988)

Way, Thinking, Painting, Personality

“After doing the imaginary landscapes until say 1956, in ’57 I came out with the first Burst painting… There was a different type of space than I had ever used and it was a further clarification of what I was trying to do. The thing that was interesting that it was a return to a focal point, but it was a focal point with the kind of space that existed in traditional painting. Because this was like a solitary image or two images that were just floating in the canvas space. They had to hold the space and they also had to create all the movement – that took place within the rectangle.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Painting

“Already in 1915, Sophie Taeuber [his wife] divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly [as Mondrian, Itten and Paul Klee did in the same period]. She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 288, Arp refers in this quote to the structure in the early watercolor paintings by his wife Sophie Taeuber.

Color

“But when the artist abandons visible appearance, as in Mondrian's black grids on white grounds filled with balancing rectangles of colour, many people feel left behind. And yet the rhythms of Mondrian are those of nature. The harmonies are those which guided proportion in classical buildings and Renaissance churches. Rothko's glowing maroon Seagram Murals at the Tate may, like Turner's late canvases, appear to be "of nothing" but in their brooding depth Rothko suggests another world. As one four year old child said of the Rothko room at the Tate "it makes me think of God."”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

God, People, World, Feeling

“You put a disk here and then you put another disk that is a triangle at the other end and then you balance them on your finger and keep on adding. I don't use rectangles - they stop. You can use them; I have at times, but only when I want to block, to constipate movement.”

Alexander Calder (1898–1976) American artist

Question, How do you get that subtle balance in your work?
1950s - 1960s, interview with Alexander Calder', (1962)

Time

“The earth is round, so why to play it square? Beneath the sun and beneath the moon, in the clouds that sail gently by, everything is going round. Children dance in a ring; there is the Tour de France, and the bikes, and the eyes that look at them and frame them on the road… You leave your rectangles, your geometrical windows, and you go to the land of circles in action…. It's human nature to break through boundaries, to grow, to push towards freedom. Roundness is free; it has no beginning and no end.”

Fernand Léger (1881–1955) French painter

referring to the circus ring
Quote, 1950's, from: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 41
Quotes of Fernand Leger, 1950's

Children, Nature, Freedom, Sun

“I used to look in my mind for the unwritten page
if my mind was empty enough I could see it
I didn't paint the plane
I just drew this horizontal line
Then I found out about all the other lines
But I realized what I liked was the horizontal line
Then I painted the two rectangles
correct composition
if they're just right”

Agnes Martin (1912–2004) American artist

1970's, The Untroubled Mind', 1971

Painting

“I could give here several other ways of tracing and conceiving a series of curved lines, each curve more complex than any preceding one, but I think the best way to group together all such curves and them classify them in order, is by recognizing the fact that all points of those curves which we may call "geometric," that is, those which admit of precise and exact measurement, must bear a definite relation to all points of a straight line, and that this relation must be expressed by a single equation. If this equation contains no term of higher degree than the rectangle of two unknown quantities, or the square of one, the curve belongs to the first and simplest class, which contains only the circle, the parabola, the hyperbola, and the ellipse; but when the equation contains one or more terms of the third or fourth degree in one or both of the two unknown quantities (for it requires two unknown quantities to express the relation between two points) the curve belongs to the second class; and if the equation contains a term of the fifth or sixth degree in either or both of the unknown quantities the curve belongs to the third class, and so on indefinitely.”

René Descartes book La Géométrie

Second Book
La Géométrie (1637)

Way, Thinking

“Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.”

Giorgio de Chirico (1888–1978) Italian artist

1920
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441
1908 - 1920, On Mystery and Creation, Paris 1913

Love, Life, Law, Nature

“I wanted to do something figurative. Well I couldn’t visualize a whole man... I felt that I wanted to make a painting primarily with painterly means. So I flattened out my canvas and made them roughly rectangular divisions, with lines going out in four directions. That is, vertically and horizontally... And then I would free associate, putting whatever came to my mind freely within these different rectangles… I thought of it as related tot the automatic writing the surrealists were interested in.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Painting

“The discovery of Hippocrates amounted to the discovery of the fact that from the relation
(1)\frac{a}{x} = \frac{x}{y} = \frac{y}{b}it follows that(\frac{a}{x})^3 = [\frac{a}{x} \cdot \frac{x}{y} \cdot \frac{y}{b} =] \frac{a}{b}and if a = 2b, [then (\frac{a}{x})^3 = 2, and]a^3 = 2x^3.The equations (1) are equivalent [by reducing to common denominators or cross multiplication] to the three equations
(2)x^2 = ay, y^2 = bx, xy = ab[or equivalently…y = \frac{x^2}{a}, x = \frac{y^2}{b}, y = \frac{ab}{x} ]Doubling the Cube
the 2 solutions of Menaechmusand the solutions of Menaechmus described by Eutocius amount to the determination of a point as the intersection of the curves represented in a rectangular system of Cartesian coordinates by any two of the equations (2).
Let AO, BO be straight lines placed so as to form a right angle at O, and of length a, b respectively. Produce BO to x and AO to y.
The first solution now consists in drawing a parabola, with vertex O and axis Ox, such that its parameter is equal to BO or b, and a hyperbola with Ox, Oy as asymptotes such that the rectangle under the distances of any point on the curve from Ox, Oy respectively is equal to the rectangle under AO, BO i. e. to ab. If P be the point of intersection of the parabola and hyperbola, and PN, PM be drawn perpendicular to Ox, Oy, i. e. if PN, PM be denoted by y, x, the coordinates of the point P, we shall have

\begin{cases}y^2 = b. ON = b. PM = bx\\ and\\ xy = PM. PN = ab\end{cases}whence\frac{a}{x} = \frac{x}{y} = \frac{y}{b}.
In the second solution of Menaechmus we are to draw the parabola described in the first solution and also the parabola whose vertex is O, axis Oy and parameter equal to a.”

Thomas Little Heath (1861–1940) British civil servant and academic

The point P where the two parabolas intersect is given by<center><math>\begin{cases}y^2 = bx\\x^2 = ay\end{cases}</math></center>whence, as before,<center><math>\frac{a}{x} = \frac{x}{y} = \frac{y}{b}.</math></center>
Apollonius of Perga (1896)

Drawing

Alexander Calder (1898–1976) American artist

1950s - 1960s, Excerpt, What Abstract Art Means to Me (1951)

Home, Painting, Art, Nature

“The mobiles started when I went to see [[w:Piet Mondrian|Mondrian [in Paris, 1930]. I was impressed by several colored rectangles he had on the wall. Shortly after that I made some mobiles.”

Alexander Calder (1898–1976) American artist

Question: How did the mobiles start?
1950s - 1960s, Excerpt, Interview with Alexander Calder (1962)

Color

“We’re basically mediating our lives and our communication through these small, glowing rectangles. I think that that’s not really how people are made to interact.”

Mark Zuckerberg (1984) American internet entrepreneur

Source: https://www.theverge.com/22588022/mark-zuckerberg-facebook-ceo-metaverse-interview

People, Communication, Thinking