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Hans Hofmann Quotes
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Art is magic. So say the surrealists. But how is it magic? In its metaphysical development? Or does some final transformation culminate in a magic reality? In truth, the latter is impossible without the former. If creation is not magic, the outcome cannot be magic. To worship the product and ignore its development leads to dilettantism and reaction. Art cannot result from sophisticated, frivolous, or superficial effects.
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The ability to simplify means to eliminate the unnecessary so that the necessary may speak. Simplification is the essence of abstraction from which objective values are not necessarily eliminated.
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The reciprocal relation of color to color produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand color into the sphere of the surreal without losing creative ground. Color stimulates certain moods in us. It awakens joy or fear in accordance with its figuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art.
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Speech has arisen through the need for expression. Certain factors have contributed to making it the paramount utilitarian method of expression. There are ideas and things expressible in words, but there are ideas better expressed in music, the person with no musical ear, or without discipline in the language of music, lacks the key to the door of the world of musical experience. But we live in a world of volume and space; it is hard to conceive of the person who is space-blind or volume-deaf. The great majority of people have the means of approach to plastic beauty as part of their natural equipment. The teacher can develop this natural endowment as Necessity, the greatest teacher, has developed speech.
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Creation is dominated by three absolutely different factors: First, nature, which works upon us by its laws; second, the artist, who creates a spiritual contact with nature and his materials; third, the medium of expression through which the artist translates his inner world. Of those three components only one, the medium, is material.
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The impulse of nature, fused through the personality of the artist by laws arising from the particular nature of the medium, produces the rhythm and the personal expression of a work. Then the life of the composition becomes a spiritual unity.
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Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull. Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).
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A work is endowed with inner greatness by the technical means which parallels the artist's experience and human discipline.
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The aim of art, so far as one can speak of an aim at all, has always been the same; the blending of experience gained in life with the natural qualities of the art medium.
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Artistic intuition is the basis for confidence of the spirit. Art is a reflection of the spirit, a result of introspection, which finds expression in the nature of the art medium.
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The universe itself is limited in its complexity. Only the absolute nothing is unlimited, unthinkable, unseizable, shapeless, forceless, non-existent.
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The structure of a picture depends on the limitations of the picture plane. The first line of the composition establishes the creative format. The physical limitations of a picture become the start and the finish of the spirit's communication.
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An inner sensation can find external expression only through a spiritual realization.
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Every work of art is the product of the artist's power for conscious feeling, and of his sensitivity to life-in-nature and life within the limits of his medium.
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We are connected with our own age if we recognize ourselves in relation to outside events; and we have grasped its spirit when we influence the future.
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A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments.
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It is the greatest injustice done to Mondrian that people who are plastically blind see only decorative design instead of the plastic perfection which characterizes his work. The whole De Stijl group from which Mondrian's art was derived must be considered a protest against such blindness.
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To sense the invisible and to be able to create it — that is art.
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The creative process lies not in imitating, but in paralleling nature — translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.
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I am many people.
Technique is always the consequence of the dominating concept.... with the change of concept, technique will change.
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A work based only on a line concept is scarcely more than a illustration; it fails to achieve pictorial structure. Pictorial structure is based on a plane concept. The line originates in the meeting of two planes... we can lose ourselves in a multitude of lines, if through them we lose our senses for the planes.
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Since light is best expressed through differences in color quality, color should not be handled as a tonal gradation, to produce the effect of light.
Hans Hofmann
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Everything rhythmically organic is true. Everything, which results from the proper feeling for rhythmically organized spiritual units, is true and alive — alive within itself. When we lose the sense for such true beauty we lose our natural sense for the rich flavor of life, which is the basis for all inspirational work.
Things generally taken for beautiful are nothing other than the product of frozen, stereotyped taste, bound by sterile rules and purely exterior judgment.
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Painting is aesthetic enjoyment; I want to be a 'poet'. As an artist I must conform to my nature. My nature has a lyrical as well as a dramatic disposition. Not one day is the same. One day I feel wonderful to work and I feel an expression, which shows in the work. Only with a very clear mind on a clear day I can paint without interruptions and without food because my disposition is like that. My work should reflect my moods and the greatest enjoyment I had when I did the work...
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It takes intelligence and training, self-discipline and fine-sensibility, to gain renewed life through leisure occupation. America now suffers spiritual poverty, and art must become more fully American life before her leisure can become culture.
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One must realize that, apart from considerations of color and form, there are two fundamentally different ways of regarding a medium of expression: one is based on taste only — an approach in which the external physical elements of expression are merely pleasingly arranged. This way results in decoration with no spiritual reaction. Arrangement is not art. The second way is based on the artist's power of empathy, to feel the intrinsic qualities of the medium of expression. Through these qualities the medium comes to life.... In this life, an intuitive artist discovers the emotive and vital substance which makes a work of art.
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I do not want to avoid immersing myself in trouble — to be a mess — to struggle out of it. I want to invent, to discover, to imagine, to speculate, to improvise — to seize the hazardous in order to be inspired. I want to experience the manifestation of the absolute — the manifestation of the unexpected in an extreme and unique relation. I know that only by following my creative instincts in an act of creative destruction will I be able to find it.
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My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.
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My paintings are always images of my whole psychic makeup. You cannot deny yourself. You ask, am I painting myself? I'd been a swindler if I did otherwise. I'd be denying my existence as an artist. I've been also asked, what do you want to convey? And I say, nothing but my own nature... I am nothing but an optimist.
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The difference between the arts arises because of the difference in the nature of the mediums of expression and the emphasis induced by the nature of each medium. Each means of expression has its own order of being, its own units.
Hans Hofmann
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Quote of the day
All the perplexities, confusions, and distresses in America arise, not from defects in their constitution or confederation, not from a want of honor or virtue, so much as from downright ignorance of the nature of coin, credit, and circulation.
John Adams
Hans Hofmann
Born:
March 21, 1880
Died:
February 17, 1966
(aged 85)
Bio:
Hans Hofmann was a German-born American abstract expressionist painter.
Known for:
Yellow Table on Green (1936)
The Golden Wall (1961)
The Gate (1960)
Most used words:
art
nature
expression
color
work
medium
spiritual
life
artist
light
space
reality
relation
plastic
physical
Hans Hofmann on Wikipedia
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