“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

— Ellsworth Kelly

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

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Ellsworth Kelly 28

American painter, sculptor, and printmaker 1923–2015

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“We visited Meudon [c.1938] to see Hans Arp and though, to our disappointment, he was not there and his wife, Sofie Täuber showed us his studio. It was very quiet in the room so that one was aware of the movement in the forms... I thought of the poetic idea in [Hans] Arp's sculptures. I had never had any first-hand knowledge of the Dadaist movement, so that seeing his work for the first time freed me of many inhibitions and this helped me to see the figure in landscape with new eyes... Perhaps in freeing himself from material demands his idea transcended all possible limitations. I began to imagine the earth rising and becoming human.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 283

“We [Hans Arp and Sophie Taeuber ] painted embroidered and made collages. All these works were drawn from the simplest forms and were probably the first examples of concrete art. These works are realities pure and independent with no meaning or cerebral intention. We rejected all mimesis and description, giving free reign to the elementary and spontaneous.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Arp's quote, on the cooperation with his future wife Sophie Taeuber ca. 1916; as quoted in: Abstract Art, Anna Moszynska, Thames and Hudson, London, 1990, p. 65
1910-20s

“Each one of these bodies [art-works which Arp made] certainly signifies something, but it is only once there is nothing left for me to change that I begin to look for its meaning, that I give it a name.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 383

“I allow myself to be guided by the work which is in the process of being born, I have confidence in it [Arp refers to 'automatic creation of art']. I do not think about it. The forms arrive pleasant, or strange, hostile, inexplicable, mute, or drowsy. They are born from themselves. It seems to me as if all I do is move my hands.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 307

“FRANCIS PICABIA
is an imbecile, an idiot, a pickpocket!!!
1921
BUT
He saved Arp from constipation!
The first mechanical work was created
by madam Tzara the Day she put
little Tristan into the world, however she
didn't know it
funny girl
Francis Picabia
is an imbecilic Spanish professor
who has never been dada
FRANCIS PICABIA IS NOTHING
FRANCIS PICABIS likes the morality of idiots
Arp's binocle is Tristan’s testicle
FRANCIS PICABIS IS NOTHING!!!!!!!!!!
But Arp was Dada before Dada.”

Francis Picabia (1879–1953) French painter and writer

Quote of Picabia in his 'Manifesto, 1921'; as cited in Manifesto: A Century of Isms, ed. Mary Ann Caws, Lincoln: University of Nebraska Press, 2001, p 319
1920's

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

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to his friend architect Alfred Roth, 19 November 1931; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 204
1930's

“Based on the metaphysical implications of the Dadaist dogma.... Arp's Reliefs [carvings] between 1916 and 1922 are among the most convincing illustrations of that anti- rationalistic era... Arp showed the importance of a smile to combat the sophistic theories of the moment. His poems of the same period stripped the word of its rational connotation to attain the most unexpected meaning through alliteration or plain nonsense.”

Marcel Duchamp (1887–1968) French painter and sculptor

1921 - 1950
Source: 'Appreciations of other artists': Jean (Hans) Arp (sculptor, painter, writer) 1949, by Marcel Duchamp; as quoted in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159

“Actually, it was in Paris in 1914 that I did my first collages, for an occultist friend. They were mysterious portico's which were supposed to replace mural paintings and which evoked the structure of palm branches or fish-bones. [remark on the first collages Arp made, in different materials]”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 430

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), p. 38

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist's task; and it is the qualities of this object that constitute its felt content.”

Robert Motherwell (1915–1991) American artist

Source: 1940s, Beyond the Aesthetics' (1946), pp. 36-37

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Ellsworth Kelly 28

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