Zitate von Hans Arp

Hans Arp Foto
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Hans Arp

Geburtstag: 16. September 1886
Todesdatum: 7. Juni 1966

Hans Peter Wilhelm Arp, auch Jean Arp war ein deutsch-französischer Maler, Grafiker, Bildhauer und Lyriker.

Er bewegte sich in den künstlerischen Kreisen der Konstruktivisten und der Pariser Surrealisten, wobei er 1916 den Dadaismus als eine literarische und künstlerische Bewegung als Antwort auf den Ersten Weltkrieg und gegen dessen soziale Konventionen in Zürich mitbegründete. Besonders eng arbeitete Arp mit seiner Frau Sophie Taeuber-Arp und zeitweise mit weiteren Künstlern, wie dem Konstruktivisten El Lissitzky, Max Ernst oder Kurt Schwitters, zusammen. 1930 wurde er Mitglied der Gruppe Cercle et Carré und ein Jahr später Mitbegründer der neuen abstrakten Pariser Künstlergruppierung Abstraction-Création.Arps Œuvre ist vom dadaistischen Prinzip des Zufalls und ab den 1920er-Jahren von einer „Objektsprache“ des Alltäglichen geprägt. Besonders charakteristisch ist seine Auseinandersetzung mit „biomorphen“, naturnahen, gerundeten Formen, die sein Werk bis heute unverkennbar machen. Wikipedia

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

—  Hans Arp

Quelle: 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.“

—  Hans Arp

Quelle: 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.

„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

Quelle: 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.

„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

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.“

—  Hans Arp

Quelle: 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.“

—  Hans Arp

Quelle: 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.“

—  Hans Arp

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.
Quelle: 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

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.“

—  Hans Arp

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

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