Władysław Strzemiński (line as creator of divisions)

"there, where there is a division, the painting is cut into parts, what should their relation be?

line,if there is only one, we then see its relation to the border of the painting, if there are many, we see the relations between the lines and between each line and the border of the painting.

line has always created divisions of the painting, where we have divisions, what should their reciprocal relation be? we link the divided parts in a rhythm of mutual connections, one dimension with another, there exists then a rhythm like the essential aesthetic emotions of the painting. this rhythm is formed from the opposition of directions and dimensions.
what is the law of unity of rhythm? the unity of rhythm is achieved by subordinating the dimensional relations to the same mathematical formula. this mathematical formula determines the relation between the height and breadth of the painting. all the fractions and forms are maintained in this mathematical relationship. in this way we achieve an absolute rhythmic unity of all the forms, the largest of which is the painting itself.

however where we have a line, we will have a division and instead of a single painting, we will have separated parts. line divides - the aim must not be the division of the painting, but its unity, presented in a direct way: optically.

in consequence it is necessary to renounce line. it is necessary to renounce rhythm, because it only exists in relations between parts. it is necessary to renounce opposites and contrasts. because only separated forms can create oppositions and contrasts. it is necessary to renounce division, because it gives concentration and the greatest intensity to forms in proximity to outline - and cuts the painting into sections, containing concentrated forms and weak forms."

(...)


"Trees have demonstrated to me what a work of art is not. The form of a tree results from a) the symmetry (in the form and distribution of leaves). This symmetry is the result of the division of the cells of the plant. The painting does not grow, its cells are not subject to division and that is why symmetry has no place here"



Władysław Strzemiński(1893-1952) statements.  in; Harrison, C. Wood, P. (1993). Art in Theory 1900-2000 (p376). Blackwell Publishing.

see also:
http://monoskop.org/images/b/b9/Bois_Yve-Alain_1990_Strzeminski_and_Kobro_In_Search_of_Motivation.pdf