Kandinsky calls the content that painting must express, that is, our invisibility (or invisible life), 'abstract'. So, the Kandinskian equation can n… - Michel Henry

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Kandinsky calls the content that painting must express, that is, our invisibility (or invisible life), 'abstract'. So, the Kandinskian equation can now be written as follows: <nowiki>Interior = interiority = invisible = life = pathos =</nowiki> abstract. Kandinsky also calls the means of painting 'abstract', so long as they are grasped in their purity. To the extent that they are abstract, colours and drawings are likewise inscribed in the equation formulated above, the equation which forms the original dimension of Being itself. In this respect, we have just discovered the true meaning of the concept of abstraction applied to painting.

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About Michel Henry

Michel Henry (10 January 1922 – 3 July 2002) was a French philosopher, phenomenologist and novelist. He wrote five novels and numerous philosophical works. He also lectured at universities in France, Belgium, the United States, and Japan. His novel L'amour les yeux fermés (Love With Closed Eyes) has won the Renaudot Prize in 1976.

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So my flesh is not only the principle of the constitution of my objective body, it hides in it its invisible substance. Such is the strange condition of this object that we call a body : it doesn’t consist at all in the visible appearance to which we have always reduced it ; precisely in its reality it is invisible. Nobody has ever seen a man, but nobody has ever seen his body either, if by "body" we understand his real body.

Precise behaviors of the kind indicated in the New Testament were summarized by medieval theology as the “seven works of corporal mercy” (to feed those who are hungry, clothe those who are naked, care for the sick, release captives, visit prisoners, and so on) and of spiritual mercy (teach the ignorant, convert sinners, console the afflicted, pardon one’s enemies, pray for the living and the dead, and the like). It is not conformity with an external model of conduct that is required. Rather, within each person who performs each of the stated acts of mercy, salvation flows. Salvation is the second birth entry into the new Life. The action of the Christian ethic places the living person into the absolute Life that was before him and, giving him to himself, gave him life in his condition as Son.

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The genius of the Christian ethic is to point out in the simplest of ordinary lives, accessible to all and comprehensible by all, the concrete conditions – the circumstances, as it were – in which the extraordinary event is produced by which the ego’s life will be changed into God’s. As an example, let us consider the parable of the Good Samaritan (whose good deed is terrifyingly represented by Luca Giordano in the painting in the Rouen Museum). Someone like the priest or Levite, who passes by without helping the man robbed by brigands who has been thrown down and is covered with wounds – that person now advances along the route to perdition without knowing it. By contrast, the Samaritan, setting aside his own business, all preoccupations about himself or his interests, is concerned only with the unfortunate one. Taking him to an inn, having him tended, paying for everything – in short, practicing mercy, he has done everything that could be done to “inherit eternal life” (Luke 10:25-37). If such is the metaphysical destiny of the protagonists in the parable, it is good that acts are what count.

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