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Ad Reinhardt cytaty

Ad Reinhardt, właściwie Adolph Frederick Reinhardt – amerykański artysta, pisarz, krytyk sztuki, wykładowca uniwersytecki, od lat 30. malarz ekspresjonista abstrakcyjny.

Był synem imigrantów: Rosjanina i Niemki. W latach 1931–1935 studiował historię sztuki na Uniwersytecie Columbia. W latach 1944–1945 służył w amerykańskiej marynarce wojennej. Był niezwykle krytycznie nastawiony do rozwijającego się po wojnie nowojorskiego rynku sztuki, czemu upust dawał w serii rysunków „Art Comic” z lat 1945–1956, publikowanych w liberalnym, lewicowym czasopiśmie PM, a później przedrukowanych w ArtNews. W latach 1952–1953 był wykładowcą na wydziale sztuki Uniwersytetu Yale’a. W latach 1950–1953 pracował nad serią obrazów czerwono-niebieskich w bardzo zbliżonej do siebie kolorystyce. Obrazy te malował pod wpływem poznanego ówcześnie Josefa Albersa i jego obserwacji dotyczących barw. Dzięki transformacji jaką przeszedł, jego obrazy stopniowo stały się prostoliniowe i symetryczne, a zestawy kolorów monochromatyczne. Tendencję tę widać w stworzonej od roku 1954 najbardziej znanej serii obrazów w bardzo ciemnej, ledwie rozróżnialnej kolorystyce . Wikipedia  

✵ 24. Grudzień 1913 – 30. Sierpień 1967
Ad Reinhardt: 22   Cytaty 0   Polubień

Ad Reinhardt: Cytaty po angielsku

“The art of 'figuring' or 'picturing' is not a fine art. An artist who is lobbying as a 'creature of circumstances' or log rolling as a 'victim of fate' is not a fine master artist. No one ever forces an artist to be pure.”

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Ad Reinhardt

Źródło: 1956 - 1967, Art-as-Art Dogma' part II, (1964), pp. 156-157

“The one art that is abstract and pure enough to have the one problem and possibility, in our time and timelessness, of the 'one single grand original problem' is pure abstract painting. Abstract painting is not just another school or movement or style but the first truly unmannered and untrammeled and un-entangled, styleless, universal painting. No other art or painting is detached or empty or immaterial enough.”

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Ad Reinhardt

Źródło: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 157

“The one thing to say about art and life is that art is art and life is life, that art is not life and life is not art. A 'slice-of-life' art is no better or worse than a 'slice-of-art' life. Fine art is not a 'means of making a living' or a 'way of living a life', and a artist who dedicates his life to his art or his art to his life burdens his art with his life and his life with his art. Art that is a matter of life and death is neither fine nor free.”

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Ad Reinhardt

Źródło: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

“The artists is responsible for his history and his nature, his history is part of his nature.”

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Ad Reinhardt

after 1967 - posthumous
Źródło: Gerhard Richter, Doubt and belief in painting, Robert Storr, MOMA, New York, 2003, p. 32 note 1.

“The one question, the one principle, the one crisis in art of the twentieth century centers in the uncompromising 'purity' of art, and in the consciousness that art comes from art only, not from anything else.”

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Ad Reinhardt

Źródło: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

“The one standard in art is oneness and fineness, rightness and purity, abstractness and evanescence. The one thing to say about art is, its breathlessness, lifelessness, deathlessness, contentlessness, formlessness, spacelessness, and timelessness. This is always the end of art.”

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Ad Reinhardt

Źródło: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 158

“My painting represents the victory of the forces of darkness and peace over the powers of light and evil. [1957, reacting on a remark of Picasso ]”

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Ad Reinhardt

1956 - 1967
Źródło: Pax, no. 13, 1960; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 151

“The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else. Art as art is nothing but art. Art is not what is not art.”

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Ad Reinhardt

Quote of Ad Reinhardt (1963); as cited in: Joseph Kosuth, (1969), " Art after Philosophy http://www.ubu.com/papers/kosuth_philosophy.html"
1956 - 1967
Wariant: The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else. Art as art is nothing but art. Art is not what is not art.

“vagueness is a 'romantic' value.... an emphasis on geometry is an emphasis on the 'known', on order and knowledge.”

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Ad Reinhardt

Quote of Ad Reinhardt in: Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 107
after 1967 - posthumous

“Who said last, 'A cleaner New York-school is Up To You?”

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Ad Reinhardt

1956 - 1967
Źródło: the 'Ad Reinhardts Papers', Archives of American Art, microfilm no. N/69-103, frame no. 285

“Study the old masters. Look at nature. Watch out for armpits'. [in 1956, Reinhardt is quoting Paul Cézanne here freely]”

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Ad Reinhardt

1956 - 1967
Źródło: Pax, no. 13, 1960; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 150

“There is nothing there. What you see is not what you see. What you see is nothing. Nothing but shapes, lines, colors. What you see is whats in your mind. What you see is something somebody told you to look for. Look out for anything you see! Watch it! Watch out! Take care! Don’t leap before you look out.”

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Ad Reinhardt

1956 - 1967
Źródło: the 'Ad Reinhardts Papers', Archives of American Art, microfilm no. N/69-103, frame no. 268

“And today many artists like myself refuse to be involved in some ideas. In painting – for me – no fooling-the-eye, no window-hole-in-the wall, no illusions, no representations, no associations, no distortions, no paint-caricaturing, no dream pictures of dripping, no delirium trimmings, no sadism or slashing, no therapy, no kicking-the-effigy, no clowning, no acrobatics, no heroics, no self-pity, no guilt.... no abstraction of everything, no nonsense, no involvements, no confusing painting with everything that is no painting.”

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Ad Reinhardt

1940 - 1955
Źródło: Contemporary American Painting, University of Illinois, Urbana 1952, p. 226-227

“The one place for art-as-art is the museum of fine art. The reason of the museum or fine art is the preservation of ancient and modern art that cannot be made again and that does not have to be done again. A museum of fine art should exclude everything but fine art, and be separate of museums of ethnology, geology, archaeology, history... Any disturbance of a true museum's soundlessness, timelessness, airlessness, and lifelessness is a disrespect.”

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Ad Reinhardt

Źródło: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

“What greater challenge today…. to disorder and insensitivity; what greater propaganda for integration than this emotionally intense, dramatic division of space? [quote in 1943, discussing the art of Piet Mondrian ]”

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Ad Reinhardt

Quote of Ad Reinhardt in: Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990, p. ?
1940 - 1955

“It’s been said many times in world art writing that one can find some of painting’s meaning by looking not only at what painters do, but what they refuse to do.”

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Ad Reinhardt

1940 - 1955
Źródło: Contemporary American Painting, University of Illinois, Urbana 1952, p. 226

“The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more, making it purer and emptier, more absolute and exclusive – non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective. The only and one way to say what abstract art or art-as-art is, is to say what it is not.”

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Ad Reinhardt

Źródło: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 154

“An abstract painting will react to you if you react to it. You get from it what you bring to it. It will meet you half way but no further. It is alive if you are. It represents something and so do you. YOU, SIR, ARE A SPACE, TOO.”

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Ad Reinhardt

Quote from the six page comic How to Look at Anvolved in some ideas. In painting – for me – no fooling-the-eye, no window-hole-in-the wall, no illusions, no representations, no associations, no distortions, no paint-caricaturing, no dream pictures of dripping, no delirium trimmings, no sadism or slashing, no therapy, no kicking-the-effigy, no clowning, no acrobatics, no heroics, no self-pity, no guilt.. ..no abstraction of everything, no nonsense, no involvements, no confusing painting with everything that is no painting.


Źródło: Contemporary American Painting, University rt, in Arts & Architecture, January 1947. note: 1940 - 1955,
en.wikiquote.org - Ad Reinhardt / Quotes of Ad Reinhardt / 1940 - 1955

“Voyaging into the night, one knows exactly where, on a known vessel, an absolute harmony with the elements of the unreal. [1959, reacting on a remark of Robert Motherwell ]”

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Ad Reinhardt

1956 - 1967
Źródło: Pax, no. 13, 1960; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 152

“Voyaging into the night, one knows exactly where, on a known vessel, an absolute harmony with the elements of the unreal.”

Help us translate this quote
Ad Reinhardt

1959, reacting on a remark of Robert Motherwell
1956 - 1967
Źródło: Pax, no. 13, 1960; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 152

“Study the old masters. Look at nature. Watch out for armpits.”

Help us translate this quote
Ad Reinhardt

[in 1956, Reinhardt is quoting Paul Cézanne here freely]
1956 - 1967
Źródło: Pax, no. 13, 1960; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 150

“What greater challenge today.... to disorder and insensitivity; what greater propaganda for integration than this emotionally intense, dramatic division of space?”

Help us translate this quote
Ad Reinhardt

quote in 1943, discussing the art of Piet Mondrian
Quote of Ad Reinhardt in: Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990, p. ?
1940 - 1955