“The significance of a work of art is determined then by the quality of its growth. This involves intangible forces inherent in the process of development. Although these forces are surreal (that is, their nature is something beyond physical reality), they, nevertheless, depend on a physical carrier. The physical carrier (commonly painting or sculpture) is the medium of expression of the Surreal. Thus, an idea is communicable only when the surreal is converted into material terms. The artist’s technical problem is how to transform the material with which he works back into the sphere of the spirit.”

—  Hans Hofmann

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

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Hans Hofmann photo
Hans Hofmann 67
American artist 1880–1966

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“The relative meaning of two physical facts in an emotionally controlled relation always creates the phenomenon of a third fact of a higher order, just as two musical sounds, heard simultaneously create the phenomenon of a third, fourth or fifth. The nature of this higher third is non-physical. In a sense it is magic. Each such phenomenon always overshadows the material qualities and the limited meaning of the basic factors from which it has sprung. For this reason Art expresses the highest quality of the spirit when it is surreal in nature; or, in terms of the visual arts, when it is of a surreal plastic nature.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 41
Search for the Real and Other Essays (1948)

“An idea can only be materialized with the help of a medium of expression, the inherent qualities of which must be surely sensed and understood in order to become the carrier of an idea.”

Hans Hofmann (1880–1966) American artist

'Excerpts from the Teaching of Hans Hofmann', p. 64
Search for the Real and Other Essays (1948)

“The physical carrier is overshadowed by a relation. The relation creates an overtone. The physical carrier is absorbed by this overtone. The overtone spontaneously transforms the means of creation into a spiritual reality. The mystery of creation is then revealed.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 49
Search for the Real and Other Essays (1948)

John Lennon photo

“Surrealism had a great effect on me because then I realised that the imagery in my mind wasn't insanity. Surrealism to me is reality.”

John Lennon (1940–1980) English singer and songwriter
Henry Moore photo

“The conflict between the theories of Surrealism & pure abstraction leads many to look upon one as black & bad & the other as white & good. Yet it seems to me that a good work of art has always contained both abstract & surrealist elements – just as it has both classical & romantic elements (order & surprise?)... Surrealism is widening the field of contemporary art & is giving more freedom to the artist (& perhaps what is not unimportant, – stretching the appreciation of the public). Abstraction is re-establishing fundamental laws; bringing back form to painting & sculpture. There are many products of surrealism which I personally dislike,.... but equally Unimportant to me are the empty decorations produced in the name of abstraction.”

Henry Moore (1898–1986) English artist

Source: 1925 - 1940, Unpublished notes' for 'The Sculptor Speaks' (1937), pp. 112-113

Asger Jorn photo

“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn (1914–1973) Danish artist

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255,
1940 - 1948, Various sources

Marie-Louise von Franz photo

“As physics is a mental reconstruction of material processes, perhaps a physical reconstruction of psychic processes is possible in nature itself.”

Marie-Louise von Franz (1915–1998) Swiss psychologist and scholar

Source: Psyche and Matter (1992), p. 208

“One must realize that, apart from considerations of color and form, there are two fundamentally different ways of regarding a medium of expression: one is based on taste only — an approach in which the external physical elements of expression are merely pleasingly arranged. This way results in decoration with no spiritual reaction. Arrangement is not art. The second way is based on the artist’s power of empathy, to feel the intrinsic qualities of the medium of expression. Through these qualities the medium comes to life... In this life, an intuitive artist discovers the emotive and vital substance which makes a work of art.”

Hans Hofmann (1880–1966) American artist

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

André Breton photo

“Surrealism is only trying to rejoin the most durable traditions of mankind. Among the primitive peoples art always goes beyond what is conventionally and arbitrarily called the 'real.”

André Breton (1896–1966) French writer

The natives of the Northwest Pacific coast, the Pueblos, New Guinea, New Ireland, the Marquesas, among others, have made 'objets' [in the Collections of Max Ernst, C. Levy-Strauss, Andre Breton, Pierre Matisse, Carlbach, Segredakis] which Surrealists particularly appreciate.
Quote of 1942, in the introduction of the Catalog 'First papers of surrealism: hanging by André Breton, his twine Marcel Duchamp'; exhibition at the Coordinating Council of French Relief Societies, Inc., New York, Oct. 14-Nov. 7, 1942
after 1930

Giorgio Morandi photo

“I also believe there is nothing more surreal and nothing more abstract than reality.”

Giorgio Morandi (1890–1964) Italian painter

from an interview, 1955; as quoted in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 38
1945 - 1964

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