Color / Modulation

»We are reaching a purely expressive art of painting that has left behind all former, archaic, geometrical styles. This fine art has only one goal: to represent, in a simple kind of way, human nature as it has been inspired by beauty. Light is no pictorial method, it reaches us through our sensibility. Our eyes are the sensory link between nature and our soul, and in our eyes, the present and our sensibility are enacted. Without our sensibility, that is, without light, we don’t achieve anything. Therefore, our soul acquires its life through harmony, and harmony only arises from simultaneity whose measures and proportions of light reach us through our eyes, our most noble sense. The soul judges the natural forms of the work of art – pure critique – in comparison to nature and guides the creator. The creator then works with everything essential he finds in the universe: rhythm, power of imagination, and simultaneity. It is therefore nature that brings forth the science of painting. The first kind of painting was simply a line retracing the shadow of a man, a shadow created by the sun. Yet how far are we removed today from the former delusion, since we have the light (bright colors, dark colors, their complementary colors, their intervals, their simultaneity) and all the other measures of colors, stemming from the awareness of creating harmony.«

Robert Delaunay, 1912

»Paintings, hand painted surfaces, are composed more or less evidently of a series of brushstrokes. One stroke is added to another in a judicious way until most or usually all of the underlying support has been covered in a manner appropriate to the subject matter innate to the artist. Meaning in these strokes, and consequently in the painting, derives from the method of organization of the strokes together with the personal touch of the artist. In a realist or in an abstract painting the strokes function (and have always functioned) on an underlying level, but in a one-color painting the strokes carry a major load of significance. Rather than serving another intention, they are that intention, a part of the subject matter of the painting as whole.«

Marcia Hafif, 1981

Bildrechte: VG Bild Kunst, Bonn 2014 Foto: Tobias Roch, Hagen Bildrechte: Calder Foundation New York / Foto Stiftung Lehmbruck Museum Bildrechte: gemeinfrei, Foto: Peter Hinschläger

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