Gino Severini Quotes

• Art is nothing but humanized science.

  Gino Severini

  Art, Science, Art Is

  "Culture and the Crowd". Book by Deric Regin (p. 86), 1968.

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• One of the main causes of our artistic decline lies beyond doubt in the separation of art and science.

  Gino Severini

  Art, Lying, Science

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• Philosophers and aestheticians may offer elegant and profound definitions of art and beauty, but for the painter they are all summed up in the phrase: To create a harmony.

  Gino Severini

  Art, Profound, Phrases

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• In the early days the Cubism' method of grasping an object was to go round and round it. The Futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons.

  Gino Severini

  Views, Two, Creative

  "Letters of the great artists" by Richard Friedenthal, Thames and Hudson, London, (p. 248), 1963.

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• Futurism and Cubism are comparable in importance to the invention of perspective, for which they substituted a new concept of space. All subsequent movements were latent in them or brought about by them.. ..the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain [an idea approved by Appolinaire and later by Matisse that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: 'poetry' being the content and 'raison d'tre' of art.

  Gino Severini

  Art, Opposites, Ideas

  "Letters of the great artists" by Richard Friedenthal, Thames and Hudson, London, (pp. 248-249), 1963.

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• It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914).

  Gino Severini

  Car, Mind, Research

  "Letters of the great artists". Book by Richard Friedenthal, p. 248, 1963.

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• In our young days, when Modigliani and I first came to Paris, in 1906, nobody was very clear about ideas. But unconsciously, we knew quite a lot of things, of which we became aware later on.

  Gino Severini

  Ideas, Paris, Firsts

  Interview; as quoted in "Letters of the great artists", Richard Friedenthal, Thames and Hudson , 1963, p. 247, 1956.

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• Before my encounter with Thomist philosophy through Maritain, I had almost reached the same conclusions through the logical development of my work, intuition and thought, but what a great sense of joy I felt upon discovering, in Maritain, the confirmation of certain thought patterns, certain ways of clarifying these to myself and to others.

  Gino Severini

  Philosophy, Joy, Intuition

  "The Life of a Painter: The Autobiography of Gino Severini". Book by Gino Severini, 1995.

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