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" "It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer. Although it is very difficult to express in words the effect of a work of art, it may be said that the viewer’s deepest impression can best be defined as the achievement of a balance between objective meaning and subjective meaning, both directly penetrated by awareness. He has a sensation of height and of depth which are no longer in any way bound to natural conditions or to spatial dimensions, a sensation which places the viewer in a state of consciousness harmony.
Theo van Doesburg (30 August 1883 – 7 March 1931) was a Dutch artist, practicing in painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl together with Piet Mondrian. Later he engaged himself more with Dadaism, in cooperation with Kurt Schwitters and Hans Arp.
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Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner.. .Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.
[ Futurism's] ..superficial expression of velocity, the aeroplane, the racing-car and so on, is but a weak expression of the inner velocity of thought compared to which the velocity of radium represents nothing but inertia.. .The mimetic expression of velocity (whatever its form may be: the aeroplane, the automobile, and so on) is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life.
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