"A picture has to be a living, breathing thing. Hofmann has maned it push-pull. To get this vitality, one has to study relationships and study them intensively. By the study of relationships, which is an inexhaustible study, one becomes more aware of himself in relation to the cosmos. After all, that is the subject of ones creation anyway, regardless of whether that creation is realistic, abstract, surrealistic or non-objective. It is for this reason that every well-educated person should be able to read pictures.
This involves more than a matter of good taste, more than the ability to read literary meanings, more than superficial surface meanings. It means reading the picture as a self-contained spiritual entity.
One has to develop ones sensibilities. Ones vision changes little by little. This kind of seeing is not just a figure of God; it takes work. If one can really see a Michaelangelo, a Rembrandt or a Renoir, one will be able to read the work of the Great Modern Painters, who paint universals in terms of their own day. It is all logical- not a practical logic, but an esthetic logic. And to quote Picasso-"It all comes about through having a sun in your belly." After all, we've gone far ahead in science, medicine, physics, mathematics, etc. Should art be far behind? Isn't art always the forerunner of cultural advance?"
Regarding Plastic Realization, James Billmyer further stated:
"The aim of the Artist is to organize his visual experience into esthetic form. A work becomes plastic when this form is realized as a complete emotional-intellectual synthesis. Its plastic realization is its content. A plastic statement does not necessarily exclude the pictorial realization of objects. The work, however, is reduced to illustration only when the plastic statement is destroyed. Finally the universality of visual art expresses itself through its plastic realization."