Antoni Tàpies citations (39 citations)

Antoni Tàpies: 39 citations0 J'aime

Antoni Tàpies: Citations en anglais

“The artist may rightly venture the opinion that he does not convey ideas, does not preach, nor that he intents to convert people by using mass communication techniques... Better than handing out all kinds of wise advice, he could show life itself; he could awake forces lying dormant in everybody, he could launch an invitation to create direct and personal experiences.”

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Antoni Tàpies

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 30.

“Obviously, the intention was not to go back to images traditionally valued as worthy or holy images and shapes, but exactly the opposite; its main purpose had to be, to realise as sacred art anything which so far had been regarded as of little value and pitiful.”

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Antoni Tàpies

quote from 1988
1981 - 1990
Source: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 38

“In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it’s a loss that has done a great deal of damage to modern art. Painting is a return to origins.”

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Antoni Tàpies

In an interview on the BBC arts program 'Omnibus', (1990); as quoted in 'Antoni Tàpies a Painter With Textures, Dies at 88', by William Grimes, in 'The New York Times', 8 Febr, 2012, p. B17
1981 - 1990

“Towards the end of 1958, I greatly increased.... the works done with what is called poor material. I felt the need to persist and go deeper with the entire message of what is insignificant, worn or dramatised by time... In fact, it was the most conscious resumption of subjects that had often attracted me. In my research, I had discovered this material, one I find loaded with strange suggestions, which is cardboard. A grey, anonymous material that won't be easily manipulated, for which very reason the slightest mark of the hand torments it and destroys it. But the piece of cardboard, the box, the lid, the tray.... dirty clothes (socks, T-shirt, underpants…), old furniture, everyday objects; not used as a representation or theme in the picture but as real bodies, objects.”

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Antoni Tàpies

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), pp. 7-8
1971 - 1980, Memòria Personal', 1977

“Everything takes place in an infinitely greater field than what is framed by the size of the picture or by what is materially in the picture. This matter [door/window/wall] is but a support inviting the viewer to participate in the much larger game of a thousand and one visions and feelings; it is the talisman lifting or sinking walls into the deepest recesses of our spirit, opening and at times closing windows in the construction of our impotence, our bondage, or our freedom. The 'subject-matter' then may be found in the picture or it may exist solely inside the spectator's head.”

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Antoni Tàpies

1945 - 1970, A Report on the Wall' 1970

“For in order to be born again, you must die.”

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Antoni Tàpies

Quote in 'Tapies, or the Materiality of Painting', by Klaus Dirscherl; as cited in Materialities of Communication, ed. Hans Ulrich Gumbrecht, Karl Ludwig Pfeiffer, Stanford University Press, 1988, p. 192
(1970), the line is the motto of his text 'Nothing is Insignificant', written in 1970
1945 - 1970

“In actual fact, contemplation is not a form of inactivity but an exercise.”

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Antoni Tàpies

in his 1990 speech 'L'art modern, la mística i l'humor' ('Modern Art, Mysticism and Humour'), Barcelona: Editorial Empúries i Fundació Antoni Tàpies, 1993; as quoted in: 'Tàpies: From Within', June ─ November, 2013 - Presse Release, Museu Nacional d'Art de Catalunya (MNAC), p. 13
1981 - 1990

“Reminding people what in reality it is all about, giving them a theme on which to ponder, creating a shock within them, pulling them out of the delusion of non authenticity, enabling them to become aware of their true possibilities.”

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Antoni Tàpies

quote from 1976
1945 - 1970
Source: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 25

“And in this sense [of using 'poor' material / arte povare] I've been influenced by or related to some Dadaist forerunner, Duchamp, Schwitters... But there are other aspects of the 'ascetic' function, of the 'sacralisation' of the world around us which I've referred to.... the 'supreme identity' of Samsara with Nirvana. The use of new materials, collage and assemblage, became quite widespread among some new artists of that time.”

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Antoni Tàpies

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), pp. 7-8
1971 - 1980, Memòria Personal', 1977

“What I did [his artistic work in the 1940's] also served as a way to spit in the face of the well-meaning bourgeoisie…”

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Antoni Tàpies

In 'Tapies, or the Materiality of Painting', by Klaus Dirscherl; as quoted in Materialities of Communication, ed. Hans Ulrich Gumbrecht, Karl Ludwig Pfeiffer, Stanford University Press, 1988, p. 184
1981 - 1990

“I would say off the cuff that I am an anxious person. I worry about everything. I need to know everything. I tend to live in a state of anxiety with the feeling that life is some kind of great catastrophe. I feel the desire, or rather the intense need, to do something useful for society, and that is what stimulates me. In every situation I always look for what is positive and beneficial for my fellow citizens. I am interested in study, reflection, philosophy — but always as a dilettante. I also consider myself a dilettante as a painter.”

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Antoni Tàpies

As quoted in "Antoni Tapies" by Serafin Garcia Ibanez in the UNESCO Courier (June 1994) http://findarticles.com/p/articles/mi_m1310/is_1994_June/ai_15630919/print?tag=artBody;col1. <br class="br">1991 - 2000

“Take a look at the simplest of objects. Let's take, for example, an old chair. It seems like nothing. But think of the universe comprised within it: the sweaty hands cutting the wood that used to be a robust tree, full of energy, in the middle of a luxuriant forest by some high mountains. The loving work that built it, the joyful anticipation of the one who bought it, the tired bodies it has helped, the pains and the joys it must have endured, whether in fancy halls or in a humble dining room in your neighbourhood. Everything, everything shares life and has its importance! Even the most worn down of chair carries inside the initial force of the sap climbing from the earth, out there in the forest, and will still be useful the day when, broken into kindling, it burns in some fireplace.”

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Antoni Tàpies

describing a children's game in his essay, Tàpies suggests looking at a chair
1945 - 1970
Source: 'El joc de saber mirar' ('The Game of Knowing How to Look'), Antoni Tàpies, Cavall Fort, núm 82, Barcelona, gener de 1967 - translated from Catalan; as quoted in: 'Tàpies: From Within', June ─ November, 2013 - Presse Release, Museu Nacional d'Art de Catalunya (MNAC )p. 16, note 9

“The highest wisdom incarnated in the poorest body. And even in straw mixed with manure: the final substances in which, by a rare miracle, the origin and strength of life emerge anew. The circle closes.”

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Antoni Tàpies

quote on using 'poor' materials, he used in his 'Arte Povera' works
1945 - 1970
Source: 'Res no és mesquí', La pràctica de l'art, Antoni Tàpies, Barcelona: Ariel, 1970; as quoted in: 'Tàpies: From Within', June ─ November, 2013 - Presse Release, Museu Nacional d'Art de Catalunya (MNAC ), p. 13, note 14

“Later came 'the hour of solitude'. Inside my tiny bedroom-studio, I began my forty days in the desert; I do not know if they are over yet. With a desperate, feverish rage I took formal experimentation to maniacal levels. Each canvas was a battlefield where wounds multiplied ad infinitum. And then came the surprise. All that frenetic movement, all that gesticulation, all that unending dynamism, by dint of the scratches, blows, scars, divisions and subdivisions…. suddenly took a qualitative leap. My eye no longer perceived differences. Everything congealed in a uniform mass. What had been ardent ebullition transformed itself into static silence. It was like a great lesson in humility for the pride of my unbridled quest.”

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Antoni Tàpies

1945 - 1970, A Report on the Wall' 1970

“The most sensational surprise was the sudden discovery, one day, that my pictures, for the first time in history, had become walls. By means of what strange process had I arrived at such precise images? And why did they make me, their first viewer, quake with emotion?”

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Antoni Tàpies

1945 - 1970, A Report on the Wall' 1970

“.. the wall, the window or the door — and so many other images that parade in my canvases — are indeed there and I am far from trying to hide the fact. With this I mean that I do not think that images, in my works, should be considered as indifferent excuses to prop visual elements, as the 'subject-matters' were said to be for Impressionists and Fauves. From those 'subject-matters', it is further said, the ensuing abstractionists or Informalists liberated themselves. My walls, windows or doors — or at least my suggestions of them — do not avoid their responsibility and hold their full archetypal or symbolic weight.”

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Antoni Tàpies

1945 - 1970, A Report on the Wall' 1970

“I never view aesthetic ideas as having an existence purely of their own but as a function they have in connection with political or moral values.”

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Antoni Tàpies

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 24.

“Metaphors of space have always been introduced into painting, the play of fullness and emptiness, volumes, surfaces, light and shade... And, in recent painting, in particular, the notion of 'emptiness' has assumed great significance... This interest in emptiness, in nothingness, is found in many disciplines, in particular in an important sector of modern philosophy. We know, for example, that the philosophers such as Heidegger or Sartre have, at a given moment, made nothingness the center of their thought…”

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Antoni Tàpies

In 'Celebració de la mel', Antoni Tàpies, in La peinture et le vide, Fundació Antoni Tàpies, Barcelona, 1993, p. 41 –46
1991 - 2000

“It is essential to bear in mind that the world of the mystics, like that of modern physics, cannot always be 'explained' in normal words, but often 'shows' itself the better through visual images.. [from the accumulation of matter and of objects to the radicalism of a gesture, it is a matter of] painting the essential and nothing more”

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Antoni Tàpies

Tàpies is citing here Llull
in his 1990 speech 'L'art modern, la mística i l'humor' ('Modern Art, Mysticism and Humour'), Barcelona: Editorial Empúries i Fundació Antoni Tàpies, 1993; as quoted in: 'Tàpies: From Within', June ─ November, 2013 - Presse Release, Museu Nacional d'Art de Catalunya (MNAC), p. 12
insisting on his 'magma works' like 'Montseny-Montnegre' and 'Díptic amb dues formes corbes' (Diptych with Two Curved Shapes), 1988.
1981 - 1990

“One day I attempted to reach silence directly, with greater resignation, surrendering to the fate that governs any profound struggle. My millions of furious clawings became millions of grains of dust, of sand... A new geo-graphy lit my way, carrying me from surprise to surprise: suggestions of unusual combinations and molecular structures, of atomic phenomena, of the world of galaxies or of images in a microscope. The symbolism of dust — 'to be one with dust, here lies the profound identity, that is, the inner profundity between man and nature' (Tao Te Ching) —, of ashes, of the earth from whence we come and to which we return, of the solidarity born when we realise that the differences among ourselves are like those between one grain of sand and the next..”

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Antoni Tàpies

1945 - 1970, A Report on the Wall' 1970

“At lucky moments this emanation could overwhelm the spectator in such a way, that because of all sorts of associations in his thinking, he could finally be taken to those areas which also had moved me so deeply and made me think I should draw the attention of others to it.”

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Antoni Tàpies

quote from 1988
1981 - 1990
Source: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 26

“Starting with approaching the spot where the painting is to be done, meanwhile realising the emptiness of the mind, up to the method of 'the flying white', of the rule of the singular stroke of the brush.... there is a proper tradition in which the artist is fully aware of the fact that only the pure and empty spontaneity enables him to embrace without hesitating all apparitions and to truly penetrate into the roots of things.”

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Antoni Tàpies

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 38.

“It is what makes conscious of the conditions and laws of observing which applied in this manner become a theme on its own. The activity of consciousness depending on the way the work itself proceeds, becomes the subject of my attention this way and it is precisely because of this voyeuristic attitude toward the own observation and experience of the subject that the conscious analytic dimension in the work shows.”

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Antoni Tàpies

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 30 : About the ambivalence in his own work.

“.. the equivalence of sounds, gratings, scratches, explosions, shots, blows, hammering, shouts, resonance, echoes in space; meditation of a cosmic theme, reflection for the contemplation of the earth, of magma, of lava, of ash; battlefield; garden; play-field; destiny of the ephemeral... Far from the cliché people have of artists holding the baggage of necessary originality, personality, style, etc., that calls for an outsider's discussion of the works, for the author there is, foremost, a nucleus of thought that is more anonymous and collective and of which artists are but humble servants. This is surely the zone where wisdom is deposited, the wisdom that one may really find beneath all ideologies and the contingencies of this world. It is the impulse of our life instinct for knowledge, love and freedom that has been kept and fed by the wisdom of all time.”

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Antoni Tàpies

1945 - 1970, A Report on the Wall' 1970

“.. [the walls in the city] witnessed the martyrdom and the inhumane repression inflicted on our people.”

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Antoni Tàpies

In a 1969 essay of Tàpies; as quoted in 'Marble Dust & More, in Miami's Antoni Tàpies Exhibit' by Elisa Turner, at 'Hamptons Art Hub – Art unrestricted', March 18, 2015
1945 - 1970

“The tattoo can only exist as part of the skin, as a drawing always is an incision in the material and therefore cannot be parted from it.”

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Antoni Tàpies

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 27.

“Was it the culmination of a process of fatigue brought about by the proliferation of an easy tachism in the world? A reaction to escape anarchic informalism? An attempt to flee abstract excess and the urge for something more concrete? Did I see the possibility to reach even more primordial levels, the most extremely pure elements, the most essential elements of painting that the masters from the preceding generation had stimulated me to seek?”

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Antoni Tàpies

1945 - 1970, A Report on the Wall' 1970

“When I talk of reality, I am always thinking of essentials. Profundity is not located in some remote, inaccessible region. It is rooted in everyday life. That is what great thinkers have taught me, above all the philosophers of the Far East, for whom true wisdom — which I am far from achieving — is the conjunction of samsara (the ordinary world) and nirvana (profound reality). To achieve contact with reality is not to transport oneself elsewhere, it is not transcendence but thorough immersion in one's surroundings. A reality which is neither purely physical nor metaphysical, but both at once.”

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Antoni Tàpies

As quoted in 'Antoni Tapies', Serafin Garcia Ibanez, in the UNESCO Courier, June 1994.
1991 - 2000

“A cross could be a shape for expressing something spacious; such as the coordinators of space. That could be called its first significance or its first relevance. A cross could equally stand for crossing something out. It could also be a sign of obstruction. An overturned cross, an X so to speak, could be the symbol of mystery, something for the other side. Then I could paint a cross in such a way that a connection is made between two bars, and in doing so convert it into a symbol of the unlimited. So, many different crosses and X symbols occur in my works.”

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Antoni Tàpies

quote from 1988
1981 - 1990
Source: Tàpies, Werke auf Papier 1943 – 2003, Achim Sommer, Kunsthalle Emden, Altana 2004, p. 27

“As far as my work is concerned, I felt at that time [1970's] the need to start from the 'nadir' (nothingness); not a zero, but I had to go back to my roots and finally reacquire and make my own many approaches that I had once vaguely internalized, through Surrealism, in my early years. Many of the techniques that validate the anarchic impulses of the imagination and the subconscious became important again, for example, the conscious inclusion of chance, of failure and of error. (quote of Tàpies 1983)”

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Antoni Tàpies

Quote in: 'Tapies, or the Materiality of Painting', by Klaus Dirscherl; as cited in Materialities of Communication, ed. Hans Ulrich Gumbrecht, Karl Ludwig Pfeiffer, Stanford University Press, 1988, p. 192
1981 - 1990