Modern man lives more and more in a preponderantly geometric order. All human creation mechanical or industrial is dependent upon geometric intentions.
1924 'The Aesthetic of the Machine', in Bulletin de l'Effort Moderne.
The thing depicted is less stationary, even the object in itself is less discernible than it used to be. A landscape broken into and traversed in a car or an express train losesindescriptivevaluebut gainsinsynthetic value; the window of the railroad carriage or the windshield of the car, combined withthespeed at whichyou aretraveling, have changed the familiar look of things. Modern man registers one hundred times more impressions than did an eighteenth century artist.Fernand Le Ger