A Quote by Henri Matisse

There is no interruption between my older paintings and my cutouts. Just that with an increasing sense of the absolute, and more abstraction, I have achieved a form that is simplified to its essence.
Once there is a certain degree of Presence, of still and alert attention in human beings' perceptions, they can sense the divine life essence, the one indwelling consciousness or spirit in every creature, every life-form, recognize it as one with their own essence and so love it as themselves. Until this happens, however, most humans see only the outer forms, unaware of the inner essence, just as they are unaware of their own essence and identify only with their own physical and psychological form.
Painter after painter, since the beginning of the century, has tended toward abstraction. First, the Impressionists simplified the landscape in terms of color, and then the Fauves simplified it again by adding distortion, which, for some reason, is a characteristic of our century.
Extrapolated, technology wants what life wants: Increasing efficiency Increasing opportunity Increasing emergence Increasing complexity Increasing diversity Increasing specialization Increasing ubiquity Increasing freedom Increasing mutualism Increasing beauty Increasing sentience Increasing structure Increasing evolvability
Absolute honesty is as absurd an abstraction as an absolute temperature or an absolute value.
Darwinian natural selection only yields adaptation to changing local environments, and better function in an immediate habitat might just as well be achieved by greater simplicity in form and behavior as by ever-increasing complexity.
Speed is the absolute essence of any form of combat
If man were relieved of all superstition, and all prejudice, and had replaced these with a keen sensitivity to his real environment, and moreover had achieved a level of communication so simplified that one syllable could express his every thought, then he would have achieved the level of intelligence already achieved by his dog.
The first type of abstraction from objects I shall refer to as simple abstraction, but the second type I shall call reflective abstraction, using this term in a double sense.
The great city can teach something that no university by itself can altogether impart: a vivid sense of the largeness of human brotherhood, a vivid sense of man's increasing obligation to man; a vivid sense of our absolute dependence on one another.
One might suppose that reality must be held to at all costs. However, though that may be the moral thing to do, it is not necessarily the most useful thing to do. The Greeks themselves chose the ideal over the real in their geometry and demonstrated very well that far more could be achieved by consideration of abstract line and form than by a study of the real lines and forms of the world; the greater understanding achieved through abstraction could be applied most usefully to the very reality that was ignored in the process of gaining knowledge.
Learn this great secret of life: What people call interruption or disturbance to their routine is just as much a part of living as the routine. To split life into two parts, one called routine and the other called interruption, is to be caught between them.
The truth I've discovered is that you don't have to lift enormous weights to grow muscle. By using stricter form, slower negatives, and stretching between sets you can get an incredible pump in all your workouts. Numbers are an abstraction, especially to muscles. Your body doesn't know the absolute weight of what you lift, it only recognizes how heavy it feels. The secret is to make lighter weights feel heavier.
Only since the turn of the century has abstraction again become recognized as an artistic means of representation. It was then that one returned to the recognition of the immense role abstraction plays in the human mind by its power of concentration upon absolute essentials.
Sometimes I start in a very realistic fashion, and as I go on from one painting to another of the same kind, it becomes simplified until it can be nothing but abstraction.
Thirty spokes meet in the hub, but the empty space between them is the essence of the wheel. Pots are formed from clay, but the empty space within it is the essence of the pot. Walls with windows and doors form the house, but the empty space within it is the essence of the home.
Fantasy (in this sense) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most potent.
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