Theo van Doesburg: Quotes about painting

“To be white, red, yellow, or black is to be a painter. Today it is not sufficient for the painter to think of colour; he should be colour, feed on colour and transform himself into painting. That is the essential thing. To feel like colour means to carry within oneself the entire range of colours, not as a treasure, but as a trust.”

Theo van Doesburg

Quote in Van Doesburg's article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19
1926 – 1931

Feeling , Thinking , Painting

“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.”

Theo van Doesburg

Quote in his article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19
1926 – 1931

Secret , Art , Feeling , Mood

“We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface. [quote of Van Doesburg, c. 1925]”

Theo van Doesburg

quoted in 'Abstract Art', Anna Moszynska, Thames and Hudson 1990, p. 107
Hans Arp used some years earlier already this new term: 'concrete art' as a rejection of the term 'abstract art'
1920 – 1926

Quotes , Painting

“Since all preceding schools of painting have proved that the spirit of beauty does not lie in nature but in the 'I', now that painting in all its various expressions from Giotto to Cézanne has demonstrated that all beauty is in the 'I', that the 'I' is all emotion and that beyond the 'I' nothing can exist because all being exists only in relationship with the 'I', now the time has come to develop from this 'I' a new style. As soon as this 'I' becomes the general, universal 'I' instead of the individualistic or the rationalistic one, the new style will be a general style.”

Theo van Doesburg

from his article: 'The new style in painting', in the Dutch journal 'De Avondpost', 2 May 1916
this quote of Van Doesburg is announcing more or less De Stijl movement as a general modern art style
1912 – 1919

Lie , School , Beauty , Nature

“[ Futurism's].. superficial expression of velocity, the aeroplane, the racing-car and so on, is but a weak expression of the inner velocity of thought compared to which the velocity of radium represents nothing but inertia... The mimetic expression of velocity (whatever its form may be: the aeroplane, the automobile, and so on) is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life.”

Theo van Doesburg

Quote from Dutch art-magazine: 'Eenheid' (Dutch, for Unity) no. 127, 9 November 1912; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 16
1912 – 1919

Life , Cars , Future , Painting

“Had optical perception not evolved into something more than sensory perception, into super-sensory perception, then the present period would never have had the courage to discover the spiritual in matter. There would have been no fundamental difference between a painting by Picasso [from Picasso's so-called 'abstract' period] and one by Paulus Potter”

Theo van Doesburg

Dutch painter from the 17th century, famous for his painting of cows
Quote from 'Painting: from composition towards counter-composition'; in 'Painting and plastic art', 'De Stijl' – Theo van Doesburg, series XIII, 1 73-4, 1926, pp. 17–18
1926 – 1931

Courage , Painting

“We speak of concrete and not abstract painting because nothing is more concrete, more real then a line, a colour, a surface. A woman, a tree, a cow; are these concrete elements in a painting? No. A woman, a tree and a cow are concrete only in nature; in painting they are abstract, illusionistic, vague and speculative. However, a plane is a plane, a line is a line and no more or no less than that. 'Concrete paintin.”

Theo van Doesburg

Spirit has arrived at the age of maturity...
Quote in 'Comments on the basic of concrete painting', Paris, January 1930, in 'Art Concret', April 1930, pp. 2–4
1926 – 1931

Age , Nature , Tree , Painting

“In addition, 'Elementarism' is real instead of abstract. The use of the term 'abstract' also caused much misunderstanding. This is easily explained... As used in connection with visual methods of expression, the term 'abstract' is extremely relative. 'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term. Hence, the term ‘abstract-real’ [proposed by his former artist-fellow Piet Mondrian, ] was a fortunate invention, although in reference to a new orientation [van Doesburg's new art orientation 'Elementarism'] the term 'real' is sufficient. The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete…”

Theo van Doesburg

Quote from Van Doesburg's article 'Elementarism as real art', in: 'Painting and plastic art' - Rome, July 1926, in De Stijl', series XIII, 1 75-6, 1926, pp. 35–43
1926 – 1931

World , Art , Reality , Painting

“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.”

Theo van Doesburg

Creative spirit becomes concrete.
Quote on 'Concrete art', in: 'Comments on the basic of concrete painting', Paris, January 1930; 'Art Concret', April 1930, pp. 2–4
1926 – 1931

Search , Idea , Nature , Painting

“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.”

Theo van Doesburg

Quote in Van Doesburg's article 'From intuition towards certitude', 1930; as quoted in 'Réalités nouvelles', 1947, no. 1, p. 3
1926 – 1931

Universe , Painting

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

Theo van Doesburg

Quote from Dutch art-magazine: 'Eenheid' (in Dutch: Unity) no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 105
1912 – 1919

Art , Soul , Idea , Problem

“I would like to offer an illustration. Imagine a house which is well designed from a material or practical point of view... Apart from these physio-functional demands, there are also psycho-functional demands which correspond with our optical, phonetic and tactile experiences. Until now, mankind has attempted to satisfy these 'supra-material' demands with a painting on the wall or a sculpture in a room.... the architecture of the future will have to destroy this duality. Its task will be to express completely and fulfill all our demands.”

Theo van Doesburg

Quote from Van Doesburg's unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203
1926 – 1931

Imagination , Future , Painting , Housing