Hans Arp citáty

Hans Arp alebo Jean Arp bol francúzsky sochár, maliar a básnik, spoluzakladateľ dadaizmu.

Matka Hansa Arpa bola Alsasanka, otec Nemec. Narodil sa v období po francúzsko-pruskej vojne, kedy oblasť, známu ako Alsasko-Lotrinsko, zabralo Nemecko. Len čo sa na konci prvej svetovej vojny Alsasko vrátilo pod vládu Francúzska, musel si Hans podľa francúzskych zákonov zmeniť meno na Jean Arp.

V roku 1904, po skončení štúdia na École des Arts et Métiers v Štrasburgu, odišiel do Francúzska, kde po prvý raz publikoval svoje básne. V rokoch 1905–1907, študoval na výtvarnej škole v nemeckom Weimare, a v roku 1908 sa znova vrátil do Paríža, kde navštevoval Académie Julian.

Arp ako jeden zo zakladateľov dada sa zúčastnil na ich prvom stretnutí v Cabaret Voltaire v roku 1916 v Zürichu. V roku 1920, spolu s Maxom Ernstom, a spoločenským aktivistom Alfredom Grünwaldom založil Dada v Kolíne nad Rýnom, ale napriek tomuto smerovaniu sa jeho práce objavovali aj na prvých surrealistických výstavách v galérii Pierre v Paríži. So surrealizmom sa neskôr rozišiel.

Od tridsiatych rokov až do konca svojho života publikoval eseje a básne. V roku 1942 ušiel kvôli nacistickej okupácii zo svojho domu v Meudone na okraji Paríža, a žil v Zürichu až do konca vojny.

Neskôr navštívil New York, kde usporiadal výstavu v Buchholzovej galérii . Wikipedia  

✵ 16. september 1886 – 7. jún 1966
Hans Arp fotka
Hans Arp: 42   citátov 0   Páči sa

Hans Arp: Citáty v angličtine

“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.”

Zdroj: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), 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'.
Kontext: 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.

“I wanted to find another order, another value for man in nature. He should no longer be the measure of all things”

Zdroj: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 183
Kontext: 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.

“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.”

Zdroj: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 63
Kontext: 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.

“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”

quote in Arp on Arp: poems, essays, memories, Viking, 1972, p. 231
Attributed from posthumous publications
Kontext: 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.

“Since the time of the cavemen, man has glorified himself, has made himself divine, and his monstrous vanity has caused human catastrophe.”

Zdroj: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 315
Kontext: 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.

“I like nature but not its substitutes. Naturalist art, illusionism, is a substitute for nature.”

Zdroj: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 359
Kontext: 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.

“These paintings, these sculptures – these objects – should remain anonymous, in the great workshop of nature, like the clouds, the mountains, the seas, the animals, and man himself. Yes! Man should go back to nature! Artists should work together like the artists of the Middle Ages.”

In 1915, w:Otto van Rees, A.C. van Rees, Freundlich, S. Taeuber [his wife] and Arp made an attempt of this sort, as Arp mentioned himself.
Zdroj: 1940s, Abstract Art, Concrete Art (c. 1942), p. 118

“As the thought comes to me to exorcise and transform this black with a white drawing, it has already become a surface... Now I have lost all fear, and begin to draw on the black surface.”

Hans Arp's quote on drawing on the black surface; as quoted in Search for the Real, Hans Hofmann, Addison Gallery of modern Art, 1948
1940s

“Structures of lines, surfaces, forms, colours. They try to approach the eternal, the inexpressible above men. They are a denial of human egotism. They are the hatred of human immodesty, the hatred of images, of paintings.. Wisdom [is] the feeling for the coming reality, the mystical, the definite indefinite, the greatest definite.”

Arp's quote from his text in a catalogue of his exhibition, in Zürich 1915; quoted by Arp himself in his text 'Abstract Art, Concrete Art,' Hans Arp, c. 1942; as quoted in Theories of Modern Art: A Source Book by Artists and Critics, by Herschel Browning Chipp, Peter Selz, p. 390
1910-20s

“I tried to be natural, in other words the exact opposite of what drawing teachers call 'faithful to nature'. I made my first experiments with free form.”

Looking, Arp, Jean; as quoted by Soby, James Thrall. Arp: The Museum of Modern Art. Doubleday, New York, 1958, Print. p. 12
1960s

“To be full of joy when looking at an oeuvre is not a little thing.”

Zdroj: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 571 - Hans Arp's quote, made in 1962 in Galerie Denise René - this remark is also the last line in the art book Jours effeuillés: Poèmes, essaies, souvenirs, Hans Arp, Gallimard, Paris 1966

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