Painters From The Netherlands

"I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism."

"The rectangular plane of varying dimensions and colours visibly demonstrates that internationalism does not mean chaos ruled by monotony but an ordered and clearly divided unity. In Neo-Plasticism, there are, in fact, very definite boundaries. But these boundaries are not really closed; the straight lines in rectangular opposition to one another constantly intersect, so that their rhythm continues throughout the whole work.. .These frontiers will be clearly defined but not 'closed'; there will be no customs, no work permits. 'Foreigners' will not be viewed as aliens."

"..the Place de l'Opera [in Paris] gives a better image of the new life than many theories. Its rhythms of opposition, twice repeated in its two directions, realizes a living equilibrium through the exactness of its execution."

"I believe that at times such as these my modest efforts may be useful to mankind. I have shown how the new art has succeeded in bringing about pure relationships, and furthermore how these can be created in day-to-day life. [Mondrian tried to convince the Dutch publisher Stols to publish his new manuscript 'L'art et la vie']"

"[the double line in his paintings] is still one line, as in the case of your grooves [= the wide sunken lines in the relief's, the artist Gorin made then].. .In my last things the double line widens to form a plane, and yet it remains a line. Be that as it may, I believe that this question is one of those which lie beyond the realm of theory, and which are of such subtlety that they are rooted in the mystery of 'art'. But all that is not yet clear in my mind."

"Thus we must carefully distinguish between two kinds of reality, one which has an individual character, and one which has a universal appearance.. .It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them.. .It is equally wrong to think that the non-figurative artist creates through 'the pure intention of his mechanical process', that he makes 'calculated abstractions' and that he wish to 'suppress sentiment not only in himself but in the spectator'.. .It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art."

"The important task of all art is to destroy the static equilibrium by establishing a dynamic one. Non-figurative art demands an attempt of what is a consequence of this task, the destruction of particular form and the construction of a rhythm of mutual relations, of mutual forms, or free lines.. ..the law of the denaturalization of matter is of fundamental importance. In painting, the primary color that is as pure as possible realizes this abstraction of natural color."

"Vertical and horizontal lines are the expression of two opposing forces; they exist everywhere and dominate everything; their reciprocal action constitutes 'life'. I recognized that the equilibrium of any particular aspect of nature rests on the equivalence of its opposites."

"Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created."

"Gradually I became aware [c. 1914-1918] that Cubism did not accept the logical consequences of its own discoveries; it was not developing abstraction towards its ultimate goal: the expression of pure reality."

"Quote of Mondrian about the years 1914-18; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé; J.M. Meulenhoff, Amsterdam 1956, p. 43"

"[..how the] landlord has had my room cleaned by Snow White and the squirrel has whitewashed the walls with his tail [signed:] - "Sleepy"."

"[...that the] dwarfes don't have enough time to help me themselves but send squirrels and birds. [referring to artist-friends who had helped him to settle in London."

"[..but he had] a record with the music of the dwarfes on it, and quite often play it."

"In his later works Doesburg tried to destroy static expression by diagonal position of his lines. But in this way the feeling of physic equilibrium which is necessary to enjoy a work of art is lost."

"Now the only problem is to destroy these lines also through mutual opposition. ..[note under his letter]: I think that the destructive element is too much neglected in art."

"Only now [1943] I become conscious that my work in black, white and little color planes has been merely 'drawing' in oil color. In drawing, the lines are the principal means of expressions.. .In painting, however, the lines are absorbed by the color planes; but the limitations of the planes show themselves as lines and conserve their great value."

"That is what we are against [the ancient-Greek ideas about art], because that is the key to the classic and tragic finality from which we must free ourselves."

"Only through intuition does a work rise above more or less subjective expression. Different periods produce different feelings and conceptions, and in each period men differ. Consequently different art expressions even in a single period are not only logical but a tribute to the general development of art. Intuition always finds the way of progress, which is continuous growth toward a clearer establishment of the content of art: the unification of man with the universe."

"Instinct reveals itself as self-concentrating, self-edifying it is limitation. Intuition produces self-denial, self-destruction； it is expansion. Culture can develop both. If it develops instinct, animal nature appears. Then culture destroys the intuitive capacity which men have even found in a primitive state."

"Human culture reveals an opposition: diminution of the instinctive faculties and development of the intuitive capacity. A cultivation of instinctive faculties produces human degeneration; a cultivation of intuitive capacities creates human progress."

"Environment, education, experience, make men conscious of passing reality but overwhelm their intuitive capacity when this is not very strong."

"Culture produces relative consciousness of the changeable expression of reality. When this consciousness is attained, a revolt takes place: the beginning of the deliverance from that expression of reality. Destruction of its limitation follows. The culture of the intuitive faculties has conquered. A clearer perception of constant reality is possible. A new realism appears."

"..reality reveals itself by substantial, palpable forms, accumulated or dispersed in empty space.. ..these forms are part of that space and.. ..the space between them appears as form, a fact which evidences the unity of form and space."

"..the elements of form have a particular aspect; every fragment, every plane, every line has its proper character."

"..the highly abstract cubism of Mondrian - a Dutchman - (it is well-known that cubism has made its entrance into the [Stedelijk Museum of Amsterdam...) though a product of cubism, Mondrian in no way imitates this style. He seems above all to have undergone the influence of Picasso, but his personality has been remained intact. His trees and his female portrait display a sensitive cerebral quality. This kind of cubism clearly follows a different path from that of Braque and Picasso, artists whose 'recherche de matière' [research of the material as matter, what Mondrian deliberately ignores]] is presently arousing such interest."

"The problem which Piet Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited then in a group-exhibition in the Stedelijk Museum in 1915, Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its pre-determined 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.."

"Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual."

"Perhaps it was his return to Paris [In June 1919 Piet Mondrian returned from The Netherlands 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."

"Mondrian has made his studio opposite so very beautiful, and his company was always inspiring, as it had been in Paris when we used to visit him. After a while he really seemed to our domestic scene. His studio and Ben's [the sculptor Ben Nicholson; Barbara was his wife then] were most austere, but my studio was a jumble of children, rocks, sculptures, trees, importunate flowers and washing."

"What greater challenge today.. ..to disorder and insensitivity; what greater propaganda for integration than this emotionally intense, dramatic division of space? [quote in 1943, discussing the art of Piet Mondrian]"

"It is the greatest injustice done to Piet 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."

"David Tudor and I went to Hilversum in Holland to make a recording for the Dutch radio. We arrived at the studio early and there was some delay. To pass the time, we chatted with the engineer who was to work with us. He asked me what kind of music he was about to record. Since he was a Dutchman I said, 'It may remind you of the work of Mondrian.' When the session was finished and the three of us were leaving the studio, I asked the engineer what he thought of the music we had played. He said, 'It reminded me of the work of Mondrian.'"

"I like [El] Lissitzky, Rodchenko, Tatlin and Gabo [all Russian Constructivist artists]; and I admire some of Kandinsky's paintings very much. But [Piet] Mondrian, that great merciless artist, is the only one who had nothing left over."

"My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930. I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature. I told him I would like to make them oscillate he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials. I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from."

"It [Mondrian's studio in Paris, c. 1930] was a very exciting room. Light came in from the left and from the right, and on the solid wall between the windows there were experimental stunts with colored rectangles of cardboard tacked on. Even the victrola, which had been some muddy color, was painted red. I suggested to Mondrian that perhaps it would be fun to make these rectangles oscillate. And he, with a very serious countenance, said: 'No, it is not necessary, my painting is already very fast.' This visit gave me a shock.. .This one visit gave me a shock that started things."

"No, the artists are in a state of belated Age of Reason. They want to get hold of things, like Mondrian. He was a fantastic artist, but now when we read his ideas and his idea of Neo-Plasticism [= De Stijl ] – pure plasticity – it's kind of silly, I think. I mean, not for him, but I think one could spend one’s life having this desire to be in and outside at the same time. He could see a future life and a future city – not like me, who am absolutely not interested in seeing the future city. I'm perfectly happy to be alive now."

"Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean' . I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean.. .I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me."

"It was this apparent paradox, by which the so-called Abstract Expressionists.. ..are really far more sympathetic to wards Mondrian than towards Kandinsky. The Mondrian thing seems paradoxical only in relation to the Mondrian that people interpreted in the [19]thirties as a rather cold and static artist. Maybe it is only more recently that we have realized about the blinking that takes place at the intersection of the lines, of shuttling back and forth and so on, that Mondrian becomes in some ways a more dynamic artist than Kandinsky."

"[he] was a terrible dancer.. ..Virginia hated it and I hated it. We had to take turns dancing with him."

"But already in his early works, as in the still-life of 1893.. ..there is a tendency towards the static and well-balanced arrangement. He has a preference for painting in atmospheric conditions which tend to efface the individual forms and emphasize the general outline: Mondrian: 'I often sketched by moonlight - cows resting or standing immovable in flat Dutch meadows, or houses with dead, blank windows. I never painted these things romantically'."

"[Mondrian] stood very stiffly, with straight arms pressed close to his sides as though defending himself against some dangerous intrusion. [He was]..a Dutch puritan, akin to the stern Arnolfini."

"I have seen him [Mondrian] dancing with some lively girl to the current rhythms of the day (especially jazz), which made such a strong appeal to him. Although he always followed the beat of the music, he seems to interpolate a rhythm of his own. He was away in a dream, yet remained prim and precise and always kept exact time, although creating the impression of an artistic, indeed almost abstract, dancing figure. It could not have been much fun for the girl to drift across the dance floor in a kind of trance in the midst of all the normal pleasure-seeking throng. He himself was aware of this and later compensated the girl – most generously, considering his slender means – for giving up her time to him. 'Perhaps she was expecting something else', he would then say with that worldly wise, yet good-natured air of his."

"Total abstraction was something intellectual to me. I didn't feel it; I could talk about Mondrian but it didn't occur to me to do it."

"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."

"Mondrian? His mind was too subtle. He worked in the light. I work in the darkness.. .Mondrian is the Buddha of painting. I saw him once. You wondered how a man could radiate such charisma."

"Mondrian.. .The constructivists?.. .They had certainties. They wanted a stable basis to work on, but I'm afraid that that was enormous arrogance on their part. Nothing is stable and no certainties are possible."

"Before you start to think about Mondrian's paintings, you have to realise that he was born, in 1872, by candlelight in Amersfoort {The Netherlands], a backward, economically undeveloped town in Utrecht. And he died, aged 71, beneath fluorescent lights, on the 36th floor of a skyscraper in New York. That's an enormous leap, from the 19th into the 20th Century – and I think it's very telling for the artist."

"Mondrian is often portrayed as a rational, ascetic man, a monk who shut himself away in his studio to work on his paintings in peace and quiet. But if you look at the historical facts, you have to conclude that the opposite is in fact true. Mondrian flourished as an artist in Paris, became famous in New York and spent his time in the company of bohemian artists, and spent his money on nightlife and women."

"Most people's lives are governed by willpower. An artist is someone who has no will."