A Quote by Alfred H. Barr, Jr.

As a movement Cubism had consistently stopped short of complete abstraction. Heretics such as Delaunay had painted pure abstractions but in so doing had deserted Cubism.
When we discovered cubism, we did not have the aim of discovering cubism. We only wanted to express what was in us.
Cubism is ... a picture for its own sake. Literary Cubism does the same thing in literature, using reality merely as a means and not as an end.
Cubism did not accept the logical consequences of its own discoveries; it was not developing abstraction towards its own goal, the expression of pure reality.
When cubism began to take a social form, Metzinger was especially talked about. He explained cubism, while Picasso never explained anything. It took a few years to see that not talking was better than talking too much.
If we had never met Picasso, would Cubism have been what it is? I think not. The meeting with Picasso was a circumstance in our lives.
Raising a child is a little like Picasso's work; in the beginning he did very conventional representational things. Cubism came after he had the rules down pat.
Cubism was an attack on the perspective that had been known and used for 500 years. It was the first big, big change. It confused people: they said, 'Things don't look like that!'
Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.
Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.
Mother and Dad were destined to have a gaggle of children. We would not have been complete if they had stopped at two or four or even six. Nine of us we had to be.
By the age of 14, I had stopped doing homework and stopped studying - as soon as I had any spare time, I was up to the local snooker club. I was fortunate my parents never forced me to stop playing snooker and told me to carry on at school. Nowadays, that probably isn't the best advice. I basically had nothing else to fall back on.
What greatly attracted me - and it was the main line of advance of Cubism - was how to give material expression to this new space of which I had an inkling. So I began to paint chiefly still lifes, because in nature there is a tactile, I would almost say a manual space... that was the earliest Cubist painting - the quest for space.
Of course, Ankh-Morpork's citizens had always claimed that the river water was incredibly pure. Any water that had passed through so many kidneys, they reasoned, had to be very pure indeed.
The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.
He was having more fun than a barrelful of monkeys.* *Several years earlier Spider had actually been tremendously disappointed by a barrelful of monkeys. It had done nothing he had considered particularly entertaining, apart from emit interesting noises, and eventually, once the noises had stopped and the monkeys were no longer doing anything at all—except possibly on an organic level—had needed to be disposed of in the dead of night.
I've had people - I've seen people do routines that I knew they didn't take from me but they had - because for whatever reason I had stopped doing it a long time ago. There's no way they would have heard this bit. But it ends up being pretty much the same thing.
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