Gino Severini quotes
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“Art is nothing but humanized science.”
-- Gino SeveriniSource : "Culture and the Crowd". Book by Deric Regin (p. 86), 1968.
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“One of the main causes of our artistic decline lies beyond doubt in the separation of art and science.”
-- Gino Severini -
“Philosophers and aestheticians may offer elegant and profound definitions of art and beauty, but for the painter they are all summed up in the phrase: To create a harmony.”
-- Gino Severini -
“In our young days, when Modigliani and I first came to Paris, in 1906, nobody was very clear about ideas. But unconsciously, we knew quite a lot of things, of which we became aware later on.”
-- Gino SeveriniSource : Interview; as quoted in "Letters of the great artists", Richard Friedenthal, Thames and Hudson , 1963, p. 247, 1956.
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“In the early days the Cubists' method of grasping an object was to go round and round it; the futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons.”
-- Gino Severini -
“It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914).”
-- Gino SeveriniSource : "Letters of the great artists". Book by Richard Friedenthal, p. 248, 1963.
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“Futurism and Cubism are comparable in importance tot the invention of perspective, for which they substituted a new concept op space. All subsequent movements were latent in them or brought about by them... the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d'être of art.”
-- Gino SeveriniSource : "Letters of the great artists" by Richard Friedenthal, Thames and Hudson, London, (pp. 248-249), 1963.
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“Before my encounter with Thomist philosophy through Maritain, I had almost reached the same conclusions through the logical development of my work, intuition and thought, but what a great sense of joy I felt upon discovering, in Maritain, the confirmation of certain thought patterns, certain ways of clarifying these to myself and to others”
-- Gino SeveriniSource : "The Life of a Painter: The Autobiography of Gino Severini". Book by Gino Severini, 1995.
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“In the early days the Cubism' method of grasping an object was to go round and round it. The Futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons.”
-- Gino SeveriniSource : "Letters of the great artists" by Richard Friedenthal, Thames and Hudson, London, (p. 248), 1963.
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Source : A. A. Gill (2008). “Paper view: the best of the Sunday Times television reviews”, Orion Pub Co
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Source : A.A. Gill (2008). “Previous Convictions: Assignments from Here and There”, p.80, Simon and Schuster
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Source : "This much I know". Interview with Tim Adams, www.theguardian.com. July 4, 2009.
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“Art is art. Everything else is everything else.”
Source : Ad Reinhardt, Marlborough Gallery (1970). “Ad Reinhardt: black paintings, 1951-1967”
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