#abstract

“An artist who sees that the imitation of natural appearances, however artistic, is not for him”

“..the works of Mozart . They create a welcome pause amidst the storms of our inner life, a vision of consolation and hope, but we hear them like sounds of another, vanished and essential unfamiliar age. Clashing discords, loss of equilibrium.. Quote from: On the Spiritual in Art , 1911; as cited in Schönberg and Kandinsky: An Historic Encounter , by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 17”

“At the moment there is a great tendency in painting to discover the 'new' harmony by constructive means whereby the rhythmic is built on an almost geometric form.. .I am certain that our own modern harmony is not to be found in the 'geometric' way, but rather in the anti”

“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'”

“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. 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”

“[ Schoenberg's ] music leads us into a realm where musical experience is a matter not of the ear but of the soul alone, and at this point the music of the future begins. Quote of Kandinsky, 1911; in Concerning the Spiritual in Art , transl. Michael T. Sadler (1914); reprint. New York: Dover, 1977), p. 17”

“Opposites and contradictions, that is our harmony. German original: Gegensätze und Widerspruche, dass ist unsere Harmonie. short quote, 1911; as cited in schönberg and Kandinsky: An Historic Encounter , by Klaus Kropfinger; ed. Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9, note 1”

“Mystery, speaking through mysteries. Isn't that meaning? Isn't that the conscious or unconsciousnes purpose of the compulsive urge to create? Quote, c. 1910; as cited by de:Wolf”

“The impressions we receive, which often appear merely chaotic, consist of three elements; the impression of the color of the object, its form, and of its combined color and form, i.e., of the object itself. At this point the individuality of the artist comes to the front and disposes, as he wills, these three elements. It is clear, therefore, that the choice of object (i.e., of one of the elements in the harmony of form) must be decided only by a corresponding vibration in the human soul.. Quote of Kandinsky, Munich, 1910; as cited in Artists on Art”

“Frankly, I think there is something wrong with Jawlensky 's dots [in his paintings, then]. Anybody can pick up that style if they want to. Quote of Kandinsky, c 1903; as cited by de:Wolf”

“I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end.. .Thus the fact that good European moderns [European artists who lived in the U.S. because of the Nazi”

“My work with Benton was important as something against which to react very strongly, later on; in this, it was better to have worked with him than with a less resistant personality who would have provided a much less strong opposition. At the same time Benton introduced me to Renaissance art. [remark on his former art”

“I can control the flow of paint; there is no accident.. Quoted in Ines Janet Engelmann Jackson Pollock and Lee Krasner , Munich: Prestel Verlag (2007), p. 54”

“Pollock wrote this text on the back of a photo of himself taken in his own studio.”

“Technic is the result of a need new needs demand new technics total control denial of the accident States of order organic intensity energy and motion made visible memories arrested in space, human needs and motives acceptance Quote around 1948”

“When I am in my painting, I am not aware of what I'm doing. It is only after a short of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well. In 'Possibilities', Vol. 1, no 1, winter 1947”

“Jackson Pollock: is he the greatest living painter in the United States?”

“It came into existence because I had to paint it. Any attempt on my part to say something about it, to attempt explanation of the inexplicable, could only destroy it. [1947, on his painting 'She wolf'] As quoted in David Anfam Abstract Expressionism , London: Thames and Hudson (1990), p. 87”

“I believe easel painting to be a dying form, and the tendency of modern feeling is toward the wall picture or mural.. In his application for a grant given by the Guggenheim Foundation 1944; as quoted in Barbara Hess Abstract expressionism , Cologne: Taschen (2006), p. 9”

“As to what I would like to be. It is difficult to say. An Artist of some kind. If nothing else I shall always study the Arts. People have always frightened and bored me, consequently I have been within my own shell and have not accomplished anything materially. Quote in Pollock's letter, Los Angeles (October 22, 1929) to Charles and Frank published in Jackson Pollock & Family (2011) American Letters: 1927”