“The new plastic idea thus correctly represents actual aesthetic relationships. To the modern artist, it is a natural consequence of all the plastic ideas of the past. This is particularly true of painting, which is the art least bound to contingencies. The picture can be a pure reflection of life in its deepest essence.”

— Piet Mondrian

1910's, Natural Reality and Abstract Reality', 1919

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Piet Mondrian 95

Peintre Néerlandais 1872–1944

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“The development of plastic art is determined by the will to visualize. Art of the past represented the subjective vision of 'naturalistic relationships'. Neoplasticism embodies a subjective vision of 'plastic' relationships… Pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships and abstract lines, is revealed conceptually (as Reason) by Chinese, Greek and German philosophy, and aesthetically by contemporary Neoplasticism [= De Stijl.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in Van Doesburg's art-review, published in: 'Thought – Vision – Creation', in De Stijl Vol ll, 2 December 1918; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, pp. 108–109
1912 – 1919

“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 (1883–1931) Dutch architect, painter, draughtsman and writer

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

“A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40-46
Search for the Real and Other Essays (1948)

“Plastic automatism.... as employed by modern masters, like Masson, Miro, [both artists of Surrealism] and Picasso, is actually very little a question of the unconsciousness. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century greatest formal inventions.”

Robert Motherwell (1915–1991) American artist

Modern Painter's World, Robert Motherwell , Dyn, Nov. 1942, p. 13
1940s

“The new plastic idea cannot, therefore, take the form of a natural or concrete representation, although the latter does always indicate the universal to a degree, or at least conceals it within.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

“Neo-Plasticism has its roots in Cubism. It could just as easy be called the Painting of Real Abstraction. Since the abstract can be expressed by a plastic reality... It achieves what all painting has tried to achieve but has been able to express only in a veiled manner. By their position and their dimension as well as by the importance of given to colour, the coloured planes express in a plastic way only relations and not forms. Neo-Plasticism imparts to these relations an aesthetic balance and thereby expresses universal harmony... For the moment what art had discovered must still be limited to art itself. Our environment cannot yet be realized as a creation of pure harmony. Art today is at the very point formerly occupied by religion. In its deepest meaning art was the transposition of the natural [into another plane]; in practice it always sought to achieve harmony between man and untransposed nature. Generally speaking, so do Theosophy and Anthroposophy, although these already possessed the original symbol of balance. And this is why they never were able to achieve equivalent relations, that is to say true harmony.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in Mondrian's letter to Rudolf Steiner, c. 1921-23; as cited in Abstract Painting, Michel Seuphor, Dell Publishing Co 1964, p. 83-85
1920's

“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
1910 - 1920

“Elementarism has been born partly in reaction to an over-dogmatic and often narrow-minded application of NeoPlasticism [a critic on his former artist-companion Piet Mondrian, partly as its consequence but ultimately from what is primarily a radical correction of Neo-plastic ideas. Elementarism rejects the demands of pure statics which led to sterility and to the laming of creative potentialities. Instead of denying Time and Space, Elementarism acknowledge these elements to be the most elementary means for creating a new plastic expression... In contrast to the Neo-plastic [= De Stijl] manner of expression, which is restricted to two dimensions [the plane], Elementarism acknowledges a form of plastic expression in four dimensions, the realm of space-time. In opposition to the orthogonal style of plastic expression, which is 'homogeneous' with natural construction, Elementarism postulates a 'heterogeneous' contrasting, unstable manner of plastic expression based upon planes oblique in relation to the static, perpendicular axis of gravitation”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote of van Doesburg, in van 'Painting and plastic art': Elementarism – fragment of a manifesto' Paris, December 1926 – April 1927; in De Stijl, Theo van Doesburg – series XIII, 78, 1926–27, pp. 82–87
1926 – 1931

“A particular thought is not the same as a concentrated, creative thought, which is actually a feeling of inward-looking calm. The former produces a descriptive and morpho-plastic art, the latter a purely plastic manifestation. It is a question of the universal versus the individual.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Mondrian refers to André Gide's 'Dada', in 'Nouvelle Revue Francaise', 1 April 1920
As quoted by the editors of 'The New Art – The New Life', op. cit. (Intro., note 1), p. 395, note 8
1920's

“In old days the plastic arts, music, and poesy were so germane to man in his totality that his Transcendence plainly manifest in them. … What is to-day obvious to all is a decay in the essence of art. … the opposition to man's true nature as man.”

Karl Jaspers (1883–1969) German psychiatrist and philosopher

Man in the Modern Age (1933)

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Piet Mondrian 95

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