Educators From France

"I learned that Cézanne's success was not preventing the Neo-Impressionists from getting support. My knowledge of their technique was entirely literary."

"So, music does not attempt to imitate Nature's sounds, but it does interpet and embody emotions awakened by Nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking our hint from Nature, construct decoratively pleasing harmonies and symphonies of color expression of our sentiments."

"Already, a conscious courage is coming to life. Here are some of the painters: Picasso, Georges Braque, Delaunay, Le Fauconnier.. ..they are highly enlightened, and do not believe in the stability of any system, even if it were to call itself classical art.. ..Their reason is poised between the pursuit of the fleeting and a mania for the eternal."

"Often we were joined by Maurice Princet. Although very young, he held an important post in an insurance company which he owed to his knowledge of mathematics. But outside his profession it was as an artist that he thought of mathematics, as a specialist in aesthetics that he evoked continuities in n dimensions. He liked to interest painters in the new visions of space that had been opened up by Victor Schlegel and several others. He succeeded. After having heard him by chance, Henri Matisse was caught reading an essay on hyperspace. Oh! it was only a potboiler [un ouvrage de vulgarisation]! but at least that shows that for the great 'fauve' the days of the painter who knows nothing, who runs towards a pretty subject with his beard blowing in the wind, was passed."

"Instead of copying Nature, we [ Cubists ] create a 'milieu', of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy of literature and music. Your [ Gelett Burgess is American] Edgar Poe did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in 'The Fall of the House of Ushur'. That subjective idea he translated into art. He made a composition of it."

"We do not mechanically connect the sensation of white with the idea of light, any more than we connect the sensation of black with the idea of darkness. We admit that a black jewel, even if of a dead black, may be more luminous than the white or pink satin of its case. Loving light, we refuse to measure it, and we avoid the geometrical ideas of the focus and the ray, which imply the repetition-contrary to the principle of variety which guides us-of bright planes and sombre intervals in a given direction. Loving colour, we refuse to limit it, and subdued or dazzling, fresh or muddy, we accept all the possibilities contained between the two extreme points of the spectrum, between the cold and the warm tone."

"If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems."

"We are frankly amused to think that many a novice may perhaps pay for his too literal comprehension of the remarks of one cubist, and his faith in the existence of an Absolute Truth, by painfully juxtaposing the six faces of a cube or the two ears of a model seen in profile."

"Unless we are to condemn all modern painting, we must regard cubism as legitimate, for it continues modern methods, and we should see in it the only conception of pictorial art now possible. In other words, at this moment cubism is painting."

"Some maintain that such a tendency distorts the curve of tradition. Do they derive their arguments from the future or the past? The future does not belong to them, as far as we are aware, and one be singularly ingenuous to seek to measure that which exists by that which exists no longer."

"Let the picture imitate nothing; let it nakedly present its raison d'être. We should indeed be ungrateful were we to deplore the absence of all those things flowers, or landscape, or faces whose mere reflection it might have been. Nevertheless, let us admit that the reminiscence of natural forms cannot be absolutely banished; not yet, at all events. An art cannot be raised to the level of a pure effusion at the first step."

"But we cannot enjoy in isolation; we wish to dazzle others with that which we daily snatch from the world of sense, and in return we wish others to show us their trophies. From a reciprocity of concessions arise those mixed images, which we hasten to confront with artistic creations in order to compute what they contain of the objective; that is of the purely conventional"

"We laugh out loud when we think of all the novices who expiate their literal understanding of the remarks of a cubist and their faith in absolute truth by laboriously placing side by side the six faces of a cube and both ears of a model seen in profile."

"People crowded into our room, they shouted, they laughed, they got worked up, they protested, they luxuriated in all kinds of utterances."

"A terrible thing has happened to me: I believe I am finding God."

"The first manifestations of Cubism took people by surprise because their minds, ill-adapted as they are to the idea of movement, are never able, on the basis of what is in front of them, to envisage what is to come."

"To understand Cézanne is to foresee Cubism. Henceforth we are justified in saying that between this school and previous manifestations there is only a difference of intensity, and that in order to assure ourselves of this we have only to study the methods of this realism, which, departing from the superficial reality of Courbet, plunges with Cézanne into profound reality, growing luminous as it forces the unknowable to retreat."

"In opposition to the immobile means of expression that the Academy was teaching, these painters threw down like a challenge a mobile expression; to volumes situated in space they preferred the living dynamism of coloured form in evolution."

"Never had the critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever."

"We were still attached to the representational image. We cut into the form, the different angles from which it could be seen, the perspective. The object turned in our hands, we turned round it. We were tortured by this mystery of form."

"The immobile had been changed to mobility."

"A talented artist, Albert Gleizes, also allowed himself to try a trianguliste representation of the human figure. This is sad, deeply."

"There is not a canvas of that time that does not foreshadow the overthrow of the foundations on which the human race thought itself firmly established, where it felt itself secure. At the moment when the Ballets Russes were at their height, when the Neo-Impressionists and Fauves had dispensed with the drawing style of the Renaissance because it could not contain the purity of the colour - these humbly painted, angular, grey, ascetic pictures were, really, an unwelcome sight. It was not any upheaval of a geological nature that they prefigured, but a cataclysm in the human order. No tremor of the earth was registered, but a tremor of the spirit that disturbed the intellect of civilised man, too long the slave of his immobilised senses. At last he was beginning to suspect that something dangerous was approaching."

"All the constructions of this first phase of the youth of the group bear witness to its constant characteristics. The epic imagination is a proof of its esemplastic power. Everything is formal, inventive and arithmetical, therefore rhythmic."

"[In Gleizes' paintings of the crucial year 1910] we see the artist's volumetric approach to Cubism and his successful union of a broad field of vision with a flat picture plane. [...] The effort to grasp the intricate rhythms of a panorama resulted in a comprehensive geometry of intersecting and overlapping forms which created a new and more dynamic quality of movement."

"In nearly all the papers, all composure was lost. The critics would begin by saying: 'there is no need to devote much space to the Cubists, who are utterly without importance', and then they furiously gave them seven columns out of the ten that were taken up, at that time, by the Salon."

"I wish to establish the true history of Cubism whose beginning was not a matter of mere chance, something dependent on a throw of the dice, but clearly linked to that revaluation of all the values of whose absolute necessity no-one in these days can be in any doubt."

"It was around 1910/11 that everyone, at every level of the social scale, became aware of those apparent eccentricities that were challenging the precarious certainties of the world. And it was uniquely the painting of a group, not of an individual, that was the cause."

"In [his article] La Peinture et ses lois ['Painting and its Laws', 1924] Gleizes deduced the rules of painting from the picture plane, its proportions, the movement of the human eye and the laws of the universe. This theory, later referred to as translation-rotation, ranks with the writings of Mondrian and Malevich as one of the most thorough expositions of the principles of abstract art, which in his case entailed the rejection not only of representation but also of geometric forms.""

"DeMaistre and Bonald … wanted to teach men submission, to give them the religion of established power, to substitute, in Bonald’s phrase, “the evidence of authority for the authority of evidence.”"

"Each man is contained and constrained, on entering social life, to fit his own life in, just as he fits his words and thoughts into a language that was formed without and before him and which is impervious to his power. Entering the game, as it were, whether of belonging to a nation or of using a language, a man enters arrangements which it does not fall to him to determine, but only to learn and respect the rules."

"For the traditionalists the Enlightenment boiled down to a fatal misunderstanding. All philosophes had been wrong about the nature and also, if one could put it that way, about the sex of prejudice. They had mistaken an earth mother who sustained and inspired her children for a bogeyman of a father. Then, seeking to overthrow this father, they had in reality done away with the mother-figure."

"According to … the French counterrevolutionaries and German Romantics, … the corpus of prejudices was a country’s cultural treasure, its ancient and tested intelligence, present as the consciousness and guardian of its thought. Prejudices were the “we” of every “I”, the past in the present, the revered vessels of the nation’s memory, its judgements carried from age to age. Pretending to spread enlightenment, the philosophes had set out to extirpate these precious residua. … The result was that they had uprooted men from their culture at the very moment when they bragged of how they would cultivate them. … Convinced that they were emancipating souls, they succeeded only in deracinating them. These calumniators of the commonplace had not freed understanding from its chains, but cut it off from its sources. The individual who, thanks to them, must now cast off childish things, had really abandoned his own nature. … The promises of the cogito were illusory: free from prejudice, cut off from the influence of national idiom, the subject was not free but shrivelled and devitalised. … Everyday opinion should therefore be regarded as the soil where thought was nourished, its hearth and sanctuary, … and not, as the philosophes would have it, as some alien authority which overwhelmed and crushed it. … The cogito needed to be steeped in the profundities of the collective mind; the broken links with the past needed repairing; the quest for independence should yield to that for authenticity. Men should abandon their scepticism and give themselves over to the comforting warmth of majoritarian ideas, bowing down before their infallible authority."

"Winning medals wasn’t the point of the Olympics. It’s the participating that counts."

"In the name of all the competitors I promise that we shall take part in these Olympic Games, respecting and abiding by the rules which govern them, in the true spirit of sportsmanship, for the glory of sport and the honour of our teams."

"The important thing in the Olympic Games is not to win, but to take part; the important thing in Life is not triumph, but the struggle; the essential thing is not to have conquered but to have fought well. To spread these principles is to build up a strong and more valiant and, above all, more scrupulous and more generous humanity."

"A better world could be brought about only by better individuals."

"I therefore think that I was right in trying from the outset of the Olympic revival to rekindle a religious awareness."

"I never practice, I always play."

"You play Bach your way and I'll play him his way."

"It is, in fact, the essence of technique to compel the qualitative to become quantitative, and in this way to force every stage of human activity and man himself to submit to its mathematical calculations. Ellul gives examples of this at every level. Thus, technique forces all sociological phenomena to submit to the clock, for Ellul the most characteristic of all modern technical instruments. The substitution of the tempus mortuum of the mechanical clock for the biological and psychological time "natural" to man is in itself sufficient to suppress all the traditional rhythms of human life in favor of the mechanical."

"The question now is whether people are prepared or not to realize that they are dominated by technology. And to realize that technology oppresses them, forces them to undertake certain obligations and conditions them. Their freedom begins when they become conscious of these things. For when we become conscious of that which determines our life we attain the highest degree of freedom."

"Mankind in the technological world is prepared to give up his independence in exchange for all kinds of facilities and in exchange for consumer products and a certain security. In short, in exchange for a package of welfare provisions offered to him by society. As I was thinking about that I couldn't help recalling the story in the Bible about Esau and the lentil broth. Esau, who is hungry, is prepared to give up the blessings and promise of God in exchange for some lentil broth. In the same way, modern people are prepared to give up their independence in exchange for some technological lentils."

"There is probably no other thinker who has thought as deeply about propaganda in all its dimensions and ramifications as Jacques Ellul. What sets him apart from other analysts is his rare if not unique combination of expertise in history, sociology, law, and political science, along with careful study of biblical and Marxist writings."

"In a society such as ours, it is almost impossible for a person to be responsible. A simple example: a dam has been built somewhere, and it bursts. Who is responsible for that? Geologists worked out. They examined the terrain. Engineers drew up the construction plans. Workmen constructed it. And the politicians decided that the dam had to be in that spot. Who is responsible? No one. There is never anyone responsible. Anywhere. In the whole of our technological society the work is so fragmented and broken up into small pieces that no one is responsible. But no one is free either. Everyone has his own, specific task. And that's all he has to do. Just consider, for example, that atrocious excuse… It was one of the most horrible things I have ever heard. The director of the Bergen-Belsen concentration camp was asked at the Nuremburg trials, “But didn’t you find it horrible? All those corpses?” He replied, “What could I do? I couldn’t process all those corpses. The capacity of the ovens was too small. It caused me many problems. I had no time to think about these people. I was too busy with the technical problem of my ovens.” That is the classic example of an irresponsible person. He carries out his technical task and isn’t interested in anything else."

"I know many people who like watching commercials because they're so funny. They provide relaxation and diversion. People come home after a day's work, from which they derive little satisfaction, and feel the need for diversion and amusement. The word diversion itself is already very significant. When Pascal uses the word diversion he means that people who follow the path of God deviate from the path which leads them to God as a result of diversion and amusement. Instead of thinking of God, they amuse themselves. So, instead of thinking about the problems which have been created by technology and our work we want to amuse ourselves."

"Jacques Ellul is no pedantic theologian discussing ideas like a dilettante whose convictions are never baptized in action. On the contrary, in Ellul one finds that ideas and acts are so integral one to the other that his decisions and actions in actual life are an incarnation of what he thinks and writes. His witness as a Christian has been nurtured in danger and turbulence, not in sanctuary or detachment. He was a militant in the French resistance to the Nazis; he has served in politics as Deputy Mayor of Bordeaux; he is distinguished professionally in the law and in economics; he was among the remnant who were concerned to expose and oppose the atrocities of the French military in the Algerian war; he is esteemed in ecumenical councils as a creative theologian; he is a partisan of renewal and relevance in the Reformed Church of France; he became a Christian in consequence of his immersion in the saga of the Bible while engaged in the strife of the world. In short, he is one who speaks with authority."

"I believe that the anarchist fight, the struggle for an anarchist society, is essential, but I also think that the realizing of such a society is impossible."

"We must unmask the ideological falsehoods of the many powers, and especially we must show that the famous theory of the rule of law which lulls the democracies is a lie from beginning to end."

"We can denounce not merely the abuses of power but power itself."