Advertisement

The Complexity of Simplicity: The Inner Structure of the Artistic Image

  • Juhani PallasmaaEmail author
Chapter
Part of the Mathematics, Culture, and the Arts book series (MACUAR)

Abstract

The means with which one paints can never be simple enough. I have always forced myself to become simpler. But the maximum simplicity coincides with the maximum fullness. The simplest means frees the eye for vision to the maximum of clarity. And in the long run only the simplest means is convincing. But courage has always been required in order to be simple. I think there’s nothing harder in the world. Those who work with simple means should never be afraid of becoming apparently trite.

References

  1. 1.
    Aalto, Alvar, “Alvar Aalto In His Own Words.” Edited and annotated by Göran Schildt. Helsinki: Otava, 1997.Google Scholar
  2. 2.
    Bachelard, Gaston, The Philosophy of No: A Philosophy of the New Scientific Mind. New York: The Orion Press, 1968.Google Scholar
  3. 3.
    Balthus. Balthus in His Own Words: A Conversation with Christina Carrillo de Albornos. New York: Assouline, 2001.Google Scholar
  4. 4.
    Brancusi, Constantin in 1926 Brancusi Exhibition Catalogue, Brummer Gallery, New York. Republished in [17].Google Scholar
  5. 5.
    Brodsky, Joseph. On Grief and Reason: Essays. New York: Farrar, Straus and Giroux, 1995.Google Scholar
  6. 6.
    ———. An Immodest Proposal, in [5, p. 208].Google Scholar
  7. 7.
    Eberhard, John Paul. “Architecture and Neuroscience: A Double Helix.” In Mind in Architecture. Edited by Sarah Robinson and Juhani Pallasmaa. Cambridge, MA: The MIT Press, 2015.Google Scholar
  8. 8.
    Enwald, Liisa. Hiljainen taiteen sisin: kirjeitä vuosilta 1900–1926. In Finnish. Helsinki: TAI-teos, 1997.Google Scholar
  9. 9.
    James, William. Principles of Psychology. Cambridge, MA: Harvard University Press, 1983.Google Scholar
  10. 10.
    McGilchrist, Iain. The Master and His Emissary: The Divided Brain and the Making of the Western World. New Haven, CT: Yale University Press, 2010.Google Scholar
  11. 11.
    Merleau-Ponty, Maurice. The Visible and the Invisible. Edited by Claude Lefort. Evanston, IL: Northwestern University Press, 1969.Google Scholar
  12. 12.
    Rilke, Rainer Maria. The Notebooks of Malte Laurids Brigge. London: W.W. Norton & Company, 1992.Google Scholar
  13. 13.
    Roy, Claude. Balthus. Boston: Little, Brown and Company, 1996.Google Scholar
  14. 14.
    Sandback, Fred. Fred Sandback. Edited by Friedeman Malsch and Christiane Meyer-Stoll. Ostfildern: Hatje Cantz, 2005.Google Scholar
  15. 15.
    ———.“Untitled”, in [14].Google Scholar
  16. 16.
    Sartre, Jean-Paul. What Is Literature? Gloucester, MA: Peter Smith, 1978.Google Scholar
  17. 17.
    Shanes, Eric. Brancusi. New York: Abbeville Press, 1989.Google Scholar
  18. 18.
    Tarkovsky, Andrei. Sculpting in Time: Reflections on the Cinema. London: The Bodley Head, 1986.Google Scholar
  19. 19.
    Valéry, Paul. “Eupalinos or the Architect.” In Dialogues, translated by William McCausland Stewart. New York: Pantheon Books, 1956.Google Scholar
  20. 20.
    Wilson, Colin St John. “Architecture—Public Good and Private Necessity.” RIBA Journal, March 1979, 107–115.Google Scholar
  21. 21.
    Wilson, Edward O. Biophilia: The Human Bond With Other Species. Cambridge, MA: Harvard University Press, 1984.Google Scholar
  22. 22.
    Wittgenstein, Ludwig. Culture and Value. Chicago: University of Chicago Press, 1984.Google Scholar
  23. 23.
    Zeki, Semir. Inner Vision: An Exploration of Art and the Brain. Oxford: Oxford University Press, 1999.Google Scholar

Copyright information

© Springer International Publishing AG 2017

Authors and Affiliations

  1. 1.Juhani Pallasmaa ArchitectsHelsinkiFinland

Personalised recommendations