Zitate von Theo van Doesburg

Theo van Doesburg Foto
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Theo van Doesburg

Geburtstag: 30. August 1883
Todesdatum: 7. März 1931

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Theo van Doesburg , eigentlich Christian Emil Marie Küpper, war ein niederländischer Maler, Schriftsteller, Architekt, Bildhauer, Typograf und Kunsttheoretiker.

Van Doesburg schuf geometrisch aufgebaute Gemälde und gehörte somit zu den Mitbegründern der abstrakten Malerei. Er war 1917 Mitbegründer der Künstlervereinigung De Stijl. Später schloss er sich für kurze Zeit dem Dadaismus an.

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Zitate Theo van Doesburg

„The work of art should be entirely conceived and formed by the mind before its execution. It should receive nothing from Nature’s formal properties or from sensuality or sentimentality… The picture should be constructed entirely from purely plastic elements, that is to say, planes and colours. A pictorial element has no other significance than 'itself', and therefore the picture has no other significance than 'itself'.“

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—  Theo van Doesburg
Quote from the first and only! issue of the art-magazine 'Art Concret', Paris 1930

„I would like to offer an illustration. Imagine a house which is well designed from a material or practical point of view… Apart from these physio-functional demands, there are also psycho-functional demands which correspond with our optical, phonetic and tactile experiences. Until now, mankind has attempted to satisfy these 'supra-material' demands with a painting on the wall or a sculpture in a room…. the architecture of the future will have to destroy this duality. Its task will be to express completely and fulfill all our demands.“

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—  Theo van Doesburg
Quote from Van Doesburg's unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203

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„Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner… Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.“

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—  Theo van Doesburg
Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187 Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture

„Elementarism has been born partly in reaction to an over-dogmatic and often narrow-minded application of NeoPlasticism [a critic on his former artist-companion Piet Mondrian, partly as its consequence but ultimately from what is primarily a radical correction of Neo-plastic ideas. Elementarism rejects the demands of pure statics which led to sterility and to the laming of creative potentialities. Instead of denying Time and Space, Elementarism acknowledge these elements to be the most elementary means for creating a new plastic expression… In contrast to the Neo-plastic [= De Stijl] manner of expression, which is restricted to two dimensions [the plane], Elementarism acknowledges a form of plastic expression in four dimensions, the realm of space-time. In opposition to the orthogonal style of plastic expression, which is 'homogeneous' with natural construction, Elementarism postulates a 'heterogeneous' contrasting, unstable manner of plastic expression based upon planes oblique in relation to the static, perpendicular axis of gravitation“

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—  Theo van Doesburg
Quote of van Doesburg, in van 'Painting and plastic art': Elementarism – fragment of a manifesto' Paris, December 1926 – April 1927; in De Stijl, Theo van Doesburg – series XIII, 78, 1926–27, pp. 82–87

„The artist's studio will be like a glass-bell or a hollow crystal. The painter himself must be white, which is to say, without tragedy or sorrow. The pallet must be of glass; the brush must be square and hard, dust-free and as immaculate as a surgical instrument. Doubtless there is much to learn from a medical laboratory… The studio of the modern painter must reflect the ambiance of mountains which are nine thousand feet high and topped with a eternal cap of snow. There the cold kills the microbes.“

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—  Theo van Doesburg
Quote in Van Doesburg's article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19

„[ Futurism's].. superficial expression of velocity, the aeroplane, the racing-car and so on, is but a weak expression of the inner velocity of thought compared to which the velocity of radium represents nothing but inertia… The mimetic expression of velocity (whatever its form may be: the aeroplane, the automobile, and so on) is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life.“

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—  Theo van Doesburg
Quote from Dutch art-magazine: 'Eenheid' (Dutch, for Unity) no. 127, 9 November 1912; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 16

„The problem which Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited in a group-exhibition in the Stedelijk Museum in 1915 in Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its predetermined structure embodies 'becoming' rather than 'being'. This represents a true element in art, for art is not 'being', but 'becoming'. The idea of 'becoming' has been expressed in black and white…. Through years of hard work my own experiences have led me, before I came to know the theories of Uexkuell or Picasso, to prefer the use of the white-black-grey palette in works of a purely spiritual content…“

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—  Theo van Doesburg
Quote from Dutch art-magazine: 'Eenheid' (in Dutch: Unity) no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 105

„We speak of concrete and not abstract painting because nothing is more concrete, more real then a line, a colour, a surface. A woman, a tree, a cow; are these concrete elements in a painting? No. A woman, a tree and a cow are concrete only in nature; in painting they are abstract, illusionistic, vague and speculative. However, a plane is a plane, a line is a line and no more or no less than that. 'Concrete paintin'. Spirit has arrived at the age of maturity…“

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—  Theo van Doesburg
Quote in 'Comments on the basic of concrete painting', Paris, January 1930, in 'Art Concret', April 1930, pp. 2–4

„One must always paint in opposition to nature, and to one’s own 'mood'. To let oneself go is a weakness, a sort of hysterics. If you are full of red, choose a green or a blue; if you feel like yellow, choose grey or black. In this continuous opposition lies the entire secret of plastic creation… To create a great work of art demands self-mortification.“

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—  Theo van Doesburg
Quote in his article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19

„Gradually we began [ De Stijl-artists in The Netherlands, 1918] to present a closed front. By working there had been created not only a clarity in the collective consciousness of our group, but we had gained a certainty, which made it possible for us to define our collective attitude towards life and to perpetrate it according to the requirements of the period… As the world war [ World War I ] was coming to an end, we all came to feel the need of securing an interest in our efforts beyond the narrow boundaries of Holland.“

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—  Theo van Doesburg
Quote in Neue Schweizer Rundschau, 1929, p. 172 (Van Doesburg); as quoted in De Stijl 1917-1931 - The Dutch Contribution to Modern Art http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01_0003.php, J.M. Meulenhoff, Amsterdam, 1956, p. 17 Van Doesburg is looking back on the starting years of De Stijl-movement

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„Art has poisoned our life. Aesthetics has infected everyone… If one chooses a typewriter or a sewing machine in the living room, the housewife say: 'Please take it away; it destroys the harmony of the room'. Post-cards, stamps, pouches, railway-tickets, pots umbrellas, towels, pyamas, chairs, blankets, handkerchiefs and ties – everything is 'arty'. How much more refreshing are those articles which are not called art: bathrooms, bath-tubs, bicycles, automobiles, engine-rooms and flat-irons. There are still people who can make beautiful things without art. They are the progressives.“

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—  Theo van Doesburg
Quote of Van Doesburg in his article: 'The end of art'; in 'De Stijl' series XII, 1924-5, pp. 135–136

„In addition, 'Elementarism' is real instead of abstract. The use of the term 'abstract' also caused much misunderstanding. This is easily explained… As used in connection with visual methods of expression, the term 'abstract' is extremely relative. 'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term. Hence, the term ‘abstract-real’ [proposed by his former artist-fellow Piet Mondrian, ] was a fortunate invention, although in reference to a new orientation [van Doesburg's new art orientation 'Elementarism'] the term 'real' is sufficient. The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete…“

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—  Theo van Doesburg
Quote from Van Doesburg's article 'Elementarism as real art', in: 'Painting and plastic art' - Rome, July 1926, in De Stijl', series XIII, 1 75-6, 1926, pp. 35–43

„Plastic expression in architecture is inconceivable without colour. Colour and light complete one another. Without colour architecture is expressionless, blind… If the Functionalists wish to suppress colour completely, then this merely proves that they never understood the importance of colour as an ‘architectural’ element, as a means of plastic expression, no matter whether used with iron, glass, or concrete.“

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—  Theo van Doesburg
Quote in van Doesburg's his article: 'Space – time and colour', in 'De Stijl', Aubette Issue, series xv, 87-9, 1928, pp. 26–27

„We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface. [quote of Van Doesburg, c. 1925]“

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—  Theo van Doesburg
quoted in 'Abstract Art', Anna Moszynska, Thames and Hudson 1990, p. 107 Hans Arp used some years earlier already this new term: 'concrete art' as a rejection of the term 'abstract art'

„He who is above cannot be below / Not to show one’s colours is to be like flotsam / not to be consistent (to be oneself) is not being / inconsistent / but never being true / here all flag-heroism but incite to / being oneself / suffering the consequences of being:/ to be hard to be cold to be cruel / To kill to hurt / to disturb tranquility / to distort harmony / from truly being / that is heroic thing / to be oneself is / being neither under bond nor borrowed nor sold nor hired / to be / means / to be spiritually free“

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—  Theo van Doesburg
lines from his poem 'The other face. To be', I.K, Bonset (= pseudo as writer for Theo van Doesburg); 'De Stijl' Vol. XIII, 75-6, 1926, p. 64

„Perhaps it was his return to Paris [In June 1919 Piet Mondrian returned to Paris] that was needed to provide him with fresh new possibilities in his work. Invigoration. His most recent work is without composition. The division of the picture plane is modular. That means ordinary rectangles, all the same size. The only contrast is in the colour. In my view, this runs counter to his theory concerning the abolition of position and dimension. This is in effect equality of position and dimension.“

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—  Theo van Doesburg
Quote from his letter to the Dutch modern architect Oud, 24 June 1919; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 126

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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