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Yves Klein

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I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figuratives or abstract, seem to me like prison windows in which the lines, precisely are the bars.
--
Gilbert Perlein and Bruno Cora, Yves Klein: Long live the Immaterial, Delano Greenidge Edition, New York, 2001.

 
Yves Klein

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..it’s not an illusionistic thing. It just seems as though there are forms in some experience in your life that have an excitement for you… ..those sort of forms in your experience do, in some way, not dominate, but they become the things that you are involved with. I don’t mean that squares becomes windows; after all, squares becomes heads, they becomes everything you know. I don’t mean it in that sense. A curve or line or rhythmical relation do have, in some way, some psychological bearing, not only on the person who looks at them after they’ve been conceived but also they do have a lot to do with the creative being who is involved with wondering just how exiting it can be..

 
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In a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completed abstracted. (on making abstraction, 1912)

 
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As you can see this is a composition of vertical and horizontal lines which will (in an abstract manner) have to express the idea of rising upwards, of magnitude. This is the same idea which used, for example, to be the guiding principle in the construction of cathedrals. Since only the manner of expression and not the representation has to express this general idea, I have not given any title. An abstract human mind will, of itself, receive the intended impression. I always confine myself to expressing the general.

 
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I was lucky because the same week that I went to prison the Americans crossed the Rhine and cut off the northern part of Holland, so there was no longer any possibility of being shipped out to a concentration camp. The rail lines were cut. So I was in prison in Amsterdam during the very last days of the war. We were sent to the men's prison and the girls were sent to a women's prison in a different place.

 
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Still haunted by Haiku, and tried my hand at it, but I fall pitifully short of the Wordsworthian touch. But failure in this realm turned my mind to an old enthusiasm of mine, the Welsh englyn. This verse form was derived by the Welsh from the inscriptions which their Roman conquerors put on tombs ... A good englym must have four lines, of ten, then six, syllables, the last two lines having seven syllables each. In the first line there must be a break after the seventh, eighth, or ninth syllable, and the rhyme with the second line comes at this break; but the tenth syllable of the first line must either rhyme or be in assonance with the middle of the second line. The last two lines must rhyme with the first rhyme in the first line, but the third or fourth line must rhyme on a weak syllable. Got that?

 
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