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Theo van Doesburg -
Plastic
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The development of plastic art is determined by the will to visualize. Art of the past represented the subjective vision of 'naturalistic relationships'. Neoplasticism embodies a subjective vision of 'plastic relationships... Pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships and abstract lines, is revealed conceptually (as Reason) by Chinese, Greek and German philosophy, and aesthetically by contemporary Neoplasticism.
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The new architecture considers not only space, but also time to be an architectural value. The unity of space and time will give architecture a new form of appearance, which is more complete. This is what is meant by 'active space'.... the dissimilar space-cells develop eccentrically from the center to the borders of the cube, thereby granting a new plastic quality to the dimensions of height, width, depth, and time.
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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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We speak of 'concrete' and not 'abstract painting', because we have finished with the period of research and speculative experience. In their search for purity artists were obliged to abstract from 'natural forms' in which the plastic elements were hidden, in order to eliminate natural forms and to replace them with 'artistic forms'. To-day the idea of 'artistic form' is as obsolete as the idea of 'natural form'. We establish the period of pure painting by constructing 'spiritual form'. Creative spirit becomes concrete.
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European art [however] has developed from mimeticism and only today is arriving at an elementary plastic art [meant is here: art without representation any longer].
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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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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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After having passed through the various phases of plastic creation [the phases of arrangement, composition, and construction] I have arrived at the creation of 'universal forms' through constructing upon an arithmetical basis with the pure elements of painting.
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A demand which will never be fulfilled as long as artists use individualistic means. 'Unity can only result from disciplining the means, for it is this discipline which produces more generalized means'. The objectification of the means will lead towards elementary, monumental plastic expression. It would be ridiculous to maintain that none of this relates to creative activity. If that were true, art would not be subject to logical discipline.
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The plastic expression of space is inconceivable without light. Light and space complete one another. In architecture light represents an element of plastic expression – in fact, the most important one. An organic relationship between 'space' and 'material' is possible only with the aid of light. The highest achievements in architecture can be accomplished only if light also is treated as plastic form.
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Our time has produced a need for contrast. This has been achieved not only in the external appearance of plastic expressions of coulor and matter, but also, and chiefly, in the tempo of life and in the techniques related to the daily, mechanical functions of life; namely standing, walking, driving, to lying and sitting – in short, every action which determines the content of architecture.
Theo van Doesburg
Quote of the day
Nobody ever did anything very foolish except from some strong principle.
William Lamb, 2nd Viscount Melbourne
Theo van Doesburg
Creative Commons
Born:
August 30, 1883
Died:
April 7, 1931
(aged 47)
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