“[I have] all respect for that neoclassicism [of Piet Mondrian ], but it would sacrifices me too much to architecture. That kind of art does indeed fit perfectly in very modern rooms of modern buildings in equally modern cities, but never again a handcart can drive in there and never again someone can speak or think of a white dog cart in the fog. I am longing for a painting that can hang in a modern environment and still have its 'personal' life.”
version in original Flemish (citaat van Roger Raveel, in het Vlaams): Al mijn respect voor dat neo-klassicisme [van Mondriaan], maar dat offert me teveel aan de architectuur. Dat werk past inderdaad gegoten in zeer moderne vertrekken van moderne gebouwen in even moderne steden maar er kan dan nooit meer een stootkar in rijden en nooit kan nog iemand spreken of denken aan een witte hondenkar in de mist. Ik verlang een schilderij die kan hangen in een moderne omgeving en die toch een ‘eigen’ leven heeft.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, after February 1951; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 133 (translation: Fons Heijnsbroek)
1945 - 1960
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Roger Raveel 10
painter 1921–2013Related quotes
version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Voor mij zou het leven waardeloos zijn als er niet de moderne kunst was en als ik niet de mogelijkheid had om me daarin te uiten op welke manier dan ook, nu ik de wijze waarop ik mij kan uiten langzamerhand heb gevonden.
Quote of Werkman in his letter to August Henkels, June 1942, as cited by Doeke Sijens in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 64
1940's
In a letter to de:Gustave Schiefler, from Flanders, at Christmas 1915; as quoted by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 62
Heckel wrote Schiefler about his 'Madonna'-painting, he painted in Ostende, Flander in 1915. Heckel was a medical orderly in Flanders together with Max Beckmann, in World War 1. Both artists got a lot of free time in the army for their artistic activities. The 'Madonna' got destroyed in World War 2. https://www.bildindex.de/document/obj00001491
Citizenship Papers (2003), The Failure of War
Context: In a modern war, fought with modern weapons and on the modern scale, neither side can limit to “the enemy” the damage that it does. These wars damage the world. We know enough by now to know that you cannot damage a part of the world without damaging all of it. Modern war has not only made it impossible to kill “combatants” without killing “noncombatants,” it has made it impossible to damage your enemy without damaging yourself.
Nano Reid (1950)
Context: Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.
Letter to Dr. Karl Hagemann, 26 March 1926 (short after a stay of 3 weeks in Berlin; as quoted in the biography-pdf http://www.kirchnermuseum.ch/data/media/downloads/Biography.pdf of the Kirchner museum, Davos
1920's
Quote in a letter to John Cage, 4 September 1950; as quoted in "Ellsworth Kelly, a Retrospective", ed. Diane Waldman, Guggenheim museum, New York 1997, p. 11
1950 - 1968
As quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York, 1990, p. 138
1940's, Art and Architecture (1944)