Hans Hofmann: Working

“This two-way transformation proceeds from metaphysical perceptions, for metaphysics is the search for the essential nature of reality. And so artistic creation is the metamorphosis of the external physical aspects of a thing into a self-sustaining spiritual reality. Such is the magic act which takes place continuously in the development of a work of art. On this and only on this is creation based.”

Hans Hofmann

'Search for the Real in the Visual Arts', p. 40
Search for the Real and Other Essays (1948)

Art , Way , Search , Nature

“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.”

Hans Hofmann

As quoted in Hans Hofmann (1963) by William Chapin Seitz, p. 15
1960s

World , Law , Nature

“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…”

Hans Hofmann

Quote from 'Artists' Session at Studio 35', (1950); as cited in Abstract Expressionism Creators and Critics (1990), ed. Clifford Ross, p. 225 
1950s

Food , Feeling , Mood , Nature

“Then [speaking of his loosely figurative work of the 1930's, in Germany] I was still under nature, not that I was imitating it; now [1957] I am above nature. But everything comes from nature, I too am part of nature; my memory comes from nature, too.”

Hans Hofmann

Quote in: 'Hans Hofmann', Elizabeth Pollet, (interview of his 1957 Whitney Museum exhibition), Arts Magazine, May 1957 (article: 30-33)
1950s

Nature , Memory , Parting

“The general misunderstanding of a work of art is often due to the fact that the key to its spiritual content and technical means is missed. Unless the observer is trained to a certain degree in the artistic idiom, he is apt to search for things which have little to do with the aesthetic content of a picture. He is likely to look for pure representational values when the emphasis is really upon music-like relationships.”

Hans Hofmann

'Painting and Culture' p. 56
Search for the Real and Other Essays (1948)

Art , Music , Search , Training

“It makes no difference whether a work is naturalistic or abstract; every visual expression follows the same fundamental laws.”

Hans Hofmann

'Excerpts from the Teaching of Hans Hofmann', p. 61
Search for the Real and Other Essays (1948)

Law

“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.”

Hans Hofmann

'Search for the Real in the Visual Arts', p. 47
Search for the Real and Other Essays (1948)

People , Art , Perfection

“Robert Motherwell: Would you say that a fair statement of your position is that the 'meaning' of a work of art consists of the relations among the elements, and not the elements themselves?
Hofmann: Yes, that I would definitely say. You make a thin line and a thick line. It is the same with geometrical shapes. It is all relationship. Without all these relationships it is not possible to express higher art.”

Hans Hofmann

Interview in Modern Artists in America, First Series (1952), ed. R. Motherwell, Ad Reinhardt, and B. Karpel, p. 19, 39
1950s

Art

“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.”

Hans Hofmann

'Painting and Culture' p. 58
Search for the Real and Other Essays (1948)

Life , Law , Nature , Personality

“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.”

Hans Hofmann

'Painting and Culture' p. 57
Search for the Real and Other Essays (1948)

Life , Beauty , Feeling , Nature

“[visiting Jackson Pollock’s studio]: You do not work from nature. This is no good, you will repeat yourself. You work by heart, not from nature. [Pollock reacted: 'I am nature]”

Hans Hofmann

1970s and later

Nature , Heart

“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.”

Hans Hofmann

'Terms' p. 71
Search for the Real and Other Essays (1948)

Sense

“The product of movement and counter-movement is tension. When tension — working strength — is expressed, it endows the work of art with the living effect of coordinated, though opposing, forces.”

Hans Hofmann

"Excerpts from the Teaching of Hans Hofmann", p. 66
Search for the Real and Other Essays (1948)

Art

“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.”

Hans Hofmann

'Search for the Real in the Visual Arts', p. 45
Search for the Real and Other Essays (1948)

World , Fear , Art , Color

“A work of art is a world in itself reflecting senses and emotions of the artist's world.
Just as a flower, by virtue of its existence as a complete organism is both ornamental and self-sufficient as to color, form, and texture, so art, because of its singular existence is more than mere ornament.”

Hans Hofmann

'Excerpts from the Teaching of Hans Hofmann', p. 59
Search for the Real and Other Essays (1948)

World , Art , Color , Flowers

“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.”

Hans Hofmann

'Painting and Culture' p. 55
Search for the Real and Other Essays (1948)

Art , Nature

“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.”

Hans Hofmann

'Search for the Real in the Visual Arts', p. 46
Search for the Real and Other Essays (1948)

Life , Art , Color , Way

“The significance of a work of art is determined then by the quality of its growth. This involves intangible forces inherent in the process of development. Although these forces are surreal (that is, their nature is something beyond physical reality), they, nevertheless, depend on a physical carrier. The physical carrier (commonly painting or sculpture) is the medium of expression of the Surreal. Thus, an idea is communicable only when the surreal is converted into material terms. The artist’s technical problem is how to transform the material with which he works back into the sphere of the spirit.”

Hans Hofmann

'Search for the Real in the Visual Arts', p. 40
Search for the Real and Other Essays (1948)

Art , Idea , Nature , Problem