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Robert Delaunay citáty

Robert Delaunay [robér delóné] byl francouzský kubistický malíř, představitel abstraktního malířství. Wikipedia  

✵ 12. duben 1885 – 25. říjen 1941   •   Další jména Робер Делоне
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“On the other hand, the artist has much to do in the realm of color construction, which is so little explored and so obscure, and hardly dates back any farther than to the beginning of Impressionism.”

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Robert Delaunay

Quote in: Herschel Browning Chipp Theories of Modern Art: A Source Book by Artists and Critics http://books.google.co.in/books?id=zvbyDtOaNVgC&pg=PA318, University of California Press, 1968, p. 318
1915 - 1941

“Simultaneousness' is a technique. Simultaneous contrast is the most up-to-date honey of this technique in this field. Simultaneous contrast is visible depth – Reality, Form, construction, representation. Depth is the new inspiration. We live in depth, we travel in depth. I’m in it. The senses are in it. And the mind is too.”

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Robert Delaunay

Quote in Delaunay's text 'Simultanism', October 1913; as cited in Futurism, ed. by Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 57
1910 - 1915

“I can see the black spots of the sun [remark to Sonia Delaunay, his wife and female artist].”

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Robert Delaunay

Quote from 'Nous irons jusqu'au soleil', Delaunay; as cited in: 'Futurism', ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 214
1915 - 1941

“Light in nature creates movement in color. The movement is provided by the relationships of uneven measures, of colors contrasts among themselves and constitutes Reality [In this quote Delaunay is referring to his series 'Window'-paintings', which he had started in 1912].”

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Robert Delaunay

Quote in: 'Nous irons jusqu'au soleil', Delaunay; as cited in 'Futurism', ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 217
1915 - 1941

“As long as art cannot get free from the object, it will continue to be a description.”

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Robert Delaunay

In On light; as quoted in: Susanna Partsch, ‎Paul Klee (2003) Klee. p. 20
1915 - 1941

“This happened in 1912. Cubism was in full force. I made paintings that seemed like prisms compared to the Cubism my fellow artists were producing. I was the heretic of Cubism. I had great arguments with my comrades who banned color from their palette, depriving it of all elemental mobility. I was accused of returning to Impressionism, of making decorative paintings, etc... I felt I had almost reached my goal.”

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Robert Delaunay

6
Quote from Delaunay's 'First Notebook, 1939', as cited in The New Art of Color: The Writings of Robert and Sonia Delaunay, Viking Press, 1978; as quoted on Wikipedia / Delaunay
1915 - 1941

“The need for a new subject has inspired the poets, launching them onto a fresh path and bringing to their attention to poetry of la Tour [the Eiffel tower in Paris], which communicates mysteriously with the whole world. Rays of light, waves of symphonic sounds. Factories, bridges, iron structures, airships, the numberless gyrations of aeroplanes, windows seen by crowd simultaneously.”

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Robert Delaunay

Quote in: 'Les Soirées de Paris'; republished in 'Sturm' [German art-magazine edited by Walden]; as cited in a document, published by Francastel op. cit. October 1913 11 bis p. 111
1910 - 1915

“What they are saying is okay [the Futurist artists like Severini, Carra and Russolo, who debated in Paris intensively with the Cubist artists].”

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Robert Delaunay

Quote in Delaunay's letter, February 1912; as cited in Futurism, ed. by Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 184
1910 - 1915