Jean Arp citáty
Jean Arp
Datum narození: 16. září 1886
Datum úmrtí: 7. červen 1966
Hans Arp byl sochař, malíř a básník.
Podobní autoři
Oldřich Smutný1
abstraktní malíř
Henri Matisse6
francouzský umělec
Jindřich Štyrský1
český fotograf, malíř, spisovatel a výtvarník
Stanislaw Wyspianski
polský umělec
Constantin Brancusi3
francouzský umělec
Michelangelo Buonarroti24
italský sochař, malíř, architekt a básník
Aristide Maillol4
sochař z Francie
Emil Filla1
český malíř a sochař
Jan Bauch10
český malířCitáty Jean Arp
„I like nature but not its substitutes. Naturalist art, illusionism, is a substitute for nature.“
— Hans Arp
Context: I like nature but not its substitutes. Naturalist art, illusionism, is a substitute for nature. I remember that in arguing with Piet Mondrian [in Paris, 1920's], he opposed art to nature saying that art is artificial and nature is natural. I do not share this opinion. I do not think that nature is in natural opposition to art. Art's origins are natural.
p. 359
„I wanted to find another order, another value for man in nature. He should no longer be the measure of all things“
— Hans Arp
Context: I wanted to find another order, another value for man in nature. He should no longer be the measure of all things, nor should everything be compared with him, but, on the contrary, all things, and man as well, should be like nature, without measure. I wanted to create new appearances, to extract new forms from man. This is made clear in my objects from 1917.
p. 183
„The philosophers are of less use to Dada than an old toothbrush, and it leaves them on the scrap heap for the great leaders of the world.“
— Hans Arp
Context: Dada was given the Venus of Milo a clyster and has allowed the Laocoön and his sons to rest awhile, after thousands of years of struggle with the good sausage Python. The philosophers are of less use to Dada than an old toothbrush, and it leaves them on the scrap heap for the great leaders of the world.
p. 63
„We do not wish to copy nature. We do not want to reproduce, we want to produce. We want to produce as a plant produces a fruit and does not itself reproduce.“
— Hans Arp
Context: We do not wish to copy nature. We do not want to reproduce, we want to produce. We want to produce as a plant produces a fruit and does not itself reproduce. We want to produce directly and without meditation. As there is not the least trace of abstraction in this art, we will call it concrete art.
p. 183: Serge Fauchereau (1988) in Arp, p. 20 commented: 'Even though his work was nonrepresentational, Arp disapproved of the term 'abstract art' being applied to it, as he often explained with the above quote'.
„Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation“
— Hans Arp
Context: Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation.... tooting, howling, screeching, booming, crashing, whistling, grinding, and trilling bolster his ego. His anxiety subsides. His inhuman void spreads monstrously like a gray vegetation.
quote in Arp on Arp: poems, essays, memories, Viking, 1972, p. 231
„Since the time of the cavemen, man has glorified himself, has made himself divine, and his monstrous vanity has caused human catastrophe.“
— Hans Arp
Context: Since the time of the cavemen, man has glorified himself, has made himself divine, and his monstrous vanity has caused human catastrophe. Art has collaborated in this false development. I find this concept of art which has sustained man's vanity to be loathsome.
p. 315
„I hereby declare that on February 8th, 1916, Tristan Tzara discovered the word DADA. I was present with my twelve children when Tzara pronounced for the first time this word which has aroused in us such legitimate enthusiasm. This took place at the Café Terrasse in Zurich, and I wore a brioche in my left nostril. I am convinced that this word has no importance and that only imbeciles and Spanish professors can be interested in dates. What interests us is the Dada spirit and we were all Dada before the existence of Dada. The first Holy Virgins I painted date from 1886, when I was a few months old and amused myself by pissing graphic impressions. The morality of idiots and their belief in geniuses makes me shit.“
— Hans Arp
'Declaration', Jean (Hans) Arp, October 1921
„Sculpture should walk on the tips of its toes, unostentatious, unpretentious, and light as the spoor of an animal in snow. Art should melt into and even merge with nature itself. This is obviously contrary to painting and sculpture based on nature. By so doing, art will rid itself more and more of self-centredness, virtuosity and absurdity.“
— Hans Arp
Arp on Arp: poems, essays, memories. p. 327 (1958)
„A deep and serene silence filled her structures composed of colors and surfaces. The exclusive use of horizontal and vertical rectangular planes in the work of art, the extreme simplification, exerted a decisive influence on my work. Here I found, stripped down to the limit, the essential elements of all earthly constructions: the bursting, upward surge of the lines and the planes toward the sky, the verticality of pure life, and the vast equilibrium, the sheer horizontality and expansiveness of dreamlike peace. Her work was for me a symbol of a divinely built 'house' which man in his vanity has ravaged and sullied.“
— Hans Arp
a remark on the art of Sophie Taeuber, whom he later married.
in Abstract Painting Michel Seuphor, Dell Publishing Co., 1964, p. 58
„A painting or sculpture not modeled on any real object is every bit as concrete and sensuous as a leaf or a stone.... [but] it is an incomplete art which privileges the intellect to the detriment of the senses... [art must be like.. ] fruit that grows in man, like a fruit on a plant or a child in it's mother's womb.“
— Hans Arp
Notes From a Dada Diary, published in 1932; as quoted by Anna Moszynska, in Abstract Art, Thames and Hudson, London, 1990, p. 113
„Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers... How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.“
— Hans Arp
In 'Franz Müllers Drahtfrühling – Memories of Kurt Schwitters Hans Arp 1956; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken - commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam - NAI Publishers, Rotterdam 2000, pp. 140-141
