Jean Arp Quotes

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.

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

Like the disposition of planes, the proportion of these planes and their colors seemed to depend only upon chance, and I declared that these works were ordered 'according to the law of chance', just like in the order of nature.

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.

I hereby declare that on February 8th, 1916, Tristan Tzara discovered the word DADA. I was present with my twelve children when Tzara pronounced for the first time this word which has aroused in us such legitimate enthusiasm. This took place at the Café Terrasse in Zurich, and I wore a brioche in my left nostril. I am convinced that this word has no importance and that only imbeciles and Spanish professors can be interested in dates. What interests us is the Dada spirit and we were all Dada before the existence of Dada. The first Holy Virgins I painted date from 1886, when I was a few months old and amused myself by pissing graphic impressions. The morality of idiots and their belief in geniuses makes me shit.

We [Hans Arp and Sophie Taeuber ] painted embroidered and made collages. All these works were drawn from the simplest forms and were probably the first examples of concrete art. These works are realities pure and independent with no meaning or cerebral intention. We rejected all mimesis and description, giving free reign to the elementary and spontaneous.

Sculpture should walk on the tips of its toes, unostentatious, unpretentious, and light as the spoor of an animal in snow. Art should melt into and even merge with nature itself. This is obviously contrary to painting and sculpture based on nature. By so doing, art will rid itself more and more of self-centredness, virtuosity and absurdity.

The man who speaks and writes about art should refrain from censuring or pontificating. He will thus avoid doing anything foolish, for in the presence of primordial depth all art is but dream and nature.

In 1915 Sophie Taeuber and I carried out our first works in the simplest forms, using painting, embroidery and pasted paper [without using oil colors to avoid any reference with usual painting]. These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous.

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.

the streams buck like rams in a tent
whips crack and from the hills come the crookedly combed
shadows of the shepherds.
black eggs and fools' bells fall from the trees.
thunder drums and kettledrums beat upon the ears of the donkeys.
wings brush against flowers.
fountains spring up in the eyes of the wild boar.

In the good times of Dada, we detested polished works, the distracted air of spiritual struggle, the titans, and we rejected them with all out being.

Then we went down to his work room, in the horrible beautiful Merz grotto [the 'Merz-Haus', built by Kurt Schwitters, where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers.. .How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.

art is fruit growing out of man like the fruit out of a plant like the child out of the mother. While the fruit of the plant grows independent forms and never resembles a balloon or a president in a cutaway suit the artistic fruit of man shows for the most part a ridiculous resemblance to the appearance of other things. Reason tells man to stand above nature and to be the measure of all things. thus man thinks he is able to live and to create against the laws of nature and he creates abortions. through reason man became a tragic and ugly figure. i dare say he would create even his children in the form of vases with umbilical cords if he could do so. reason has cut man off from nature.

Already in 1915, Sophie Taeuber [his wife] divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly [as Mondrian, Itten and Paul Klee did in the same period]. She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.