A Quote by Piet Mondrian

To move the picture into our surroundings and give it real existence has been my ideal since I came to abstract painting. — © Piet Mondrian
To move the picture into our surroundings and give it real existence has been my ideal since I came to abstract painting.
Something like 'Abstract' can really give people access to the behind-the-scenes of how our physical surroundings take shape.
Creation rather than painting, or if painting, yet such, and with such co-presence of the whole picture flash'd at once upon the eye, as the sun paints in a camera obscura. (Describing his poetic ideal, 1817)
I get so tired of painting. I've been trying to give it up all the time, if we could just make a living out of movies or the newspaper business or something. It's so boring, painting the same picture over and over.
... my whole existence is governed by abstract ideas.... the ideal must be preserved regardless of fact.
I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.
The spirit of an age may be best expressed in the abstract ideal arts, for the spirit itself is abstract and ideal.
What is the use of good painting? We want a spell cast upon the optical part of our existence! We seldom really see the world, but when we do, we become as still as a picture.
My paintings are inspirational for they allow the observer to experience infinite viewpoints and perceptions. They are not abstract for they represent what is actually more real than what our eyes are able to see. They allow the viewers to be inspired by taking their own perception beyond their senses and their surroundings.
Abstract reason, formerly the servant of practical human reasons, has everywhere become its master, and denies poetry any excuse for existence. Though philosophers like to define poetry as irrational fancy, for us it is practical, humorous, reasonable way of being ourselves. Of never acquiescing in a fraud; of never accepting the secondary-rate in poetry, painting, music, love, friends. Of safeguarding our poetic institutions against the encroachments of mechanized, insensate, inhumane, abstract rationality.
Painting should educate and enrich. Modern painting merely offers a split-second emotion: You see it, you have an instant reaction and move on. Instead, real painting can be looked at over and over again and each time it has something new.
Think of an abstract painting as very, very low relief - a thing, not a picture.
In Australia, average temperatures have risen almost one degree since 1910, and each decade since the 1940s has been warmer than the one before. That warming is real. Its consequences are real. And it will change our lives in real and practical ways.
When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
What most paintings do is give you a path for your eye to move around. The painting actually tells your eye, go here, now go here, now go here, go here. So all you have to do is look at it, give it a few seconds, and your eye will start to move through the painting.
The unique eludes us; yet we remain faithful to the ideal of it; and in spite of sense and of our merely abstract thinking, it becomes for us the most real thing in the actual world, although for us it is the elusive goal of an infinite quest.
An abstract painting need in 50 years by no means look "abstract" any longer.
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