Concrete art
The term Concrete Art was introduced in 1924 by Theo van Doesburg and in 1930, when the Art Concret group was founded, it was programmatically defined in a manifesto for a direction in art that ideally is based on mathematical and geometric foundations. In the true sense of the word, it is not “abstract”, as it does not abstract anything that is present in material reality, but on the contrary materializes the spiritual, has no symbolic meaning and is more or less generated purely by geometric construction. Richard Paul Lohse spoke more of constructive art . Concrete art distinguishes itself from constructivism and abstract art through its scientific thinking (especially the exploration of geometric laws), its focus on the interplay of form and color and its interest in exploring color. Some experts emphasize the importance of simple basic geometric shapes. However, the use of such elements is neither a unique selling point nor a necessary component of works of Concrete Art. For historical reasons, the term is mainly used for works from the German-speaking cultural area, although of course there have been and are artistic positions worldwide that correspond to Concrete Art, namely in Italy, France, the Netherlands, the Czech Republic and in North America. However, these are usually listed under different "labels". It is typical for artists in this particular direction that their works are usually created in the head before they are materialized. In extreme cases, the principles of origin are so stringently formulated in the head that they can be represented almost like mathematical formulas (see quotations from RP Lohse ). This encourages the frequent creation of entire series of works. The Stuttgart philosopher Max Bense made an important contribution to the theoretical superstructure and the reception of concrete art and poetry , especially in Germany .
Quotes
Theo van Doesburg
- “The work of art must (!) Be completely conceived and designed in the mind before it is executed. It must not contain anything of the formal conditions of nature, the senses and feelings. We want to turn off lyricism, drama, symbolism, etc. The picture must (!) Be constructed exclusively from plastic elements, i. H. of surfaces and colors. A picture element has no other meaning than itself.
- ... Because we have left the time of searching and speculative experiments behind us. In search of purity, artists were forced to destroy the natural form. Today the idea of the art form is as out of date as the idea of the natural form.
- We foresee the time of pure painting. Because nothing is more concrete, more real than a line, a color, a surface ... Concrete and not abstract painting. Because the mind has reached the state of maturity. He needs clear, intellectual means to manifest in a concrete way.
- ... The color is the basic substance of painting; it only means itself. Painting is a means of realizing the idea in an optical way: Every picture is a color idea ... Before the work is converted into matter, it is fully conscious (!). It is also necessary that (!) The realization has a technical perfection that is equal to that of the intellectual design ... We work with the dimensions of mathematics - Euclidean or non-Euclidean - and science, that is: with the means of thinking . "
- “Painting is a means of making one's thoughts come true in an optical way”.
Richard Paul Lohse
- “The number replaces the individual, themes take on the expressive function of the element” -… - “The decisive task now is to activate the systematic-logical process in such a way that (!) A dynamic artistic formulation emerges and the principles of order become a means classify with this intention. "
Max Bill
- In his introduction to the catalog of the Zurich Concrete Art exhibition in 1949 , Max Bill formulated the goal of Concrete Art : “... the goal of concrete art is to develop objects for intellectual use, similar to how humans create objects for material ones use. [...] Concrete art in its ultimate consequence is the pure expression of harmonious measure and law. it arranges systems and gives life to these orders with artistic means. "
- Max Bill 1947: “The aim of Concrete Art is to develop objects for intellectual use, similar to how humans create objects for material use. (...) Concrete art is in its ultimate consequence the pure expression of harmonious measure and law. It arranges systems and gives life to these orders with artistic means. "
Introductory text on the homepage of the Museum for Concrete Art in Ingolstadt
- “... Concrete art (is) a direct art movement aimed at sensual experience, which can be grasped without any prior knowledge, but necessarily without prejudice. It is a non-representational art in painting, sculpture, film or installations that does not want to depict the visible world. Therefore, the colors, shapes, the line and also the materials have a special meaning. (...) It was not until 1930 that the term “Concrete Art” caught on through a text by the artist Theo van Doesburg for various non-representational and geometric positions. (...) Especially by reducing it to the reception in Switzerland, the so-called “Zurich Concrete”, Concrete Art was defined very narrowly. (...) But even the logical painting by Richard Paul Lohse wants more than just to illustrate mathematical laws. Lohse in particular had great social goals and wanted to use his art to make systems and structures visible and thus reformable. (...) The generation of artists born in the 1970s would never allow themselves to be labeled with the label “Concrete Art”. The term has become historical, but the content is as topical as it was at the beginning of the 20th century. "
Pioneer of Concrete Art
A great turning point in art began around 1903. Painting and sculpture are moving away from visible reality. Henri Matisse said that when you look at a picture you have to completely forget what it is. It is art that allows form, color and image design to have extensive autonomy from the representational. This movement away from the world of the visible was called abstraction . It's about concentrating on the essentials, the necessary.
From 1910 an art emerged that consistently continued the path of abstraction. Any remnant of representation, figurative or figurative, was rejected: “Could such an art - which has obviously become completely independent - still be described as an extreme form of abstraction, as integral or total abstraction? Wasn't there something fundamentally new, a complete autonomy of artistic creation? "
Wassily Kandinsky stated that art only follows its own, art-immanent laws. It is an art of pure non-representationalism. Quote:
- “The new art has placed the principle in the foreground that art can only have itself as its content. So we do not find in it the idea of anything, but only the idea of art itself, of its self-content. The very own idea of art is that it is non-representational. "
Artists of Concrete Art / Constructive Art
- Karl-Heinz Adler
- Josef Albers
- Joachim Albrecht
- Hans Arp
- Werner Assenmacher
- Claude Augsburger
- Waldemar Bachmeier
- Joe Barnes
- Eva Bauer
- Josef Bauer
- Marcel-Louis Baugniet
- Olle Bærtling
- Horst Bartnig
- Ulrich Behl
- Jacob Bill
- Max Bill
- Gerhard Jürgen Blum-Kwiatkowski
- Arvid Boecker
- Hartmut Boehm
- Regine Bonke
- Andreas Brandt
- Max Burchartz
- Dominique Chapuis
- Andreas Christians
- Rudolf de Crignis
- Daniel de Spirt
- Gilbert Decock
- Sonia Delaunay
- Inge Dick
- Edgar Diehl
- Theo van Doesburg
- Karl showerk
- Alan Ebnother
- Rupert Eder
- Ulrich Erben
- Rita Ernst
- André Evard
- Hermann Frauenknecht
- Heinz Friege
- Günter Fruhtrunk
- Rupprecht Geiger
- Hans Gekeler
- Karl Gerstner
- Fritz Glarner
- Hans Jörg Glattfelder
- Camille Graeser
- Florin Garnier
- Alan Green
- Ulla Grigat
- Jon Groom
- Edgar Gutbub
- Marcia Hafif
- Herbert Hamak
- Heijo Hangen
- Hans Herbert Hartwieg
- Hasso von Henninges
- Auguste Herbin
- Carmen Herrera
- Jiří Hilmar
- Gisela Hoffmann
- Gottfried Honegger
- Gerhard Hotter
- Jean-Pierre Husquinet
- Robert Jacobsen
- Hildegard Joos
- Peter Kalkhof
- Thomas P. Kausel
- Peter Kenter
- Klaus Kipfmüller
- Fritz Klingbeil
- Willem Kloppers
- Wolfgang Koerber
- Jarosław Kozłowski
- Jo Kuhn
- Friedrich Kracht
- Carl Krasberg
- Josef Linschinger
- Verena Loewensberg
- Richard Paul Lohse
- Manfred Luther
- Thilo Maatsch
- Alberto Magnelli
- Brice Marden
- Joseph Marioni
- Agnes Martin
- Almir Mavignier
- Manfred Mohr
- Piet Mondrian
- François Morellet
- Richard Mortensen
- Olivier Mosset
- Knut Navrot
- Günter Neusel
- Jo Niemeyer
- Rudolf Ortner
- Ulrich Otto
- Claude Pasquer
- Antoine Pevsner
- Jean Pfaff
- Georg Karl Pfahler
- Helga Philipp
- Michael Post
- Henri Prosi
- Rolf Rappaz
- Ad Reinhardt
- Frank Richter
- Ivo rings
- Christian Roeckenschuss
- Axel Rohlfs
- Karl Peter Röhl
- Sigurd Rompza
- Reinhard Roy
- Nelly Rudin
- Robert Ryman
- Diet Sayler
- Alexander Schadow
- Irene Schramm-Biermann
- Phil Sims
- Peter Staechelin
- Anton Stankowski
- Klaus Staudt
- Helmut Sundhaußen
- Ben Suter
- Zdeněk Sýkora
- Andrzej Szewczyk
- Sophie Taeuber-Arp
- Kurt Teuscher
- Norbert Thomas
- Niele Toroni
- Günter Umberg
- Marie-Thérèse Vacossin
- Georges Vantongerloo
- Jean-Pierre Viot
- Reinhard Voigt
- Friedrich Vordemberge-Gildewart
- Hermann Waibel
- Gido return
- Michael Wiesinger
- Ludwig Wilding
- Martin Woern
- Achim Zeman
- HH carpenter
- Piet van Zon
- Yahya Youssef
Concrete Art sculptor
- Ulrich Behl
- Max Bill
- Regine Bonke
- Hellmut Bruch
- Christoph Freimann
- Ingo Glass
- Edgar Gutbub
- Erwin Heerich
- Gottfried Honegger
- Maria CP Huls
- Robert Jacobsen
- Fritz Klingbeil
- Diethelm Koch
- Wolfgang Koerber
- Norbert Kricke
- Carlernst Kürten
- Horst Kuhnert
- Norvin Leineweber
- François Morellet
- Norbert Müller-Everling
- Ben Muthofer
- Josef Neuhaus
- Ansgar Nierhoff
- Roland Phleps
- Heinz-Günter Prager
- David Rabinowitch
- Ulrich Rückriem
- HD Schrader
- Heiner Thiel
- Jan de Weryha-Wysoczański
Max Bill : Infinite Loop (1935–1953), executed in Tranas Granit 1974. Essen
Ingo Glass : Hommage à Vasarely (2006/2007). Hünfeld
HD Schrader : Cubecrack No. 1 (1996). Herne
François Morellet : Sphère - trames (1962). Mönchengladbach
Gottfried Honegger : Installation Culur . At Maloja
Ulrich Behl : swimming object (1987), aluminum sheet in five sizes. Langenhagen
Norbert Kricke : Spatial sculpture Big Curve I (1980), Museum Josef Albers, Quadrat Bottrop
Concrete photography
see: Concrete photography
Concrete poetry
see: Concrete Poetry and Visual Poetry
- Jeremy Adler
- Bob Cobbing
- Reinhard Döhl
- Eugen Gomringer
- Bill Griffiths
- Franz Mon
- Gerhard Rühm
- Stanisław Dróżdż
Museums for Concrete Art
- Foundation for Concrete Art, Reutlingen .
- Weishaupt Art Gallery , Ulm .
- Museum for Concrete Art , Ingolstadt .
- Haus Konstruktiv , Zurich , exhibitions a. a. by Sol LeWitt (USA), Erik Steinbrecher (CH), Jan De Cock (B), Anton Stankowski (D), Verena Loewensberg (CH), Günter Umberg (D), Carsten Nicolai (D), Joanne Greenbaum (USA), Beat Zoderer (CH), Max Bill (CH).
- Espace de l'Art Concret, Mouans-Sartoux.
- Wilhelm Hack Museum , Ludwigshafen am Rhein .
- Josef Albers Museum Square , Bottrop .
- Museum in the Kulturspeicher , Würzburg ( Peter C. Ruppert Collection ).
- Museum Modern Art Hünfeld ( Gerhard Jürgen Blum-Kwiatkowski Collection ), Hünfeld .
- Sculpture hall of the Foundation for Concrete Art Roland Phleps , Freiburg- Zähringen.
- Forum Concrete Art in the Peterskirche , Erfurt .
- IKKP Institute for Concrete Art and Poetry (Prof. Gomringer Collection), Rehau .
- Collection Museum Signs of the Times , Museum of Reductive Art, Świeradów-Zdrój , Poland.
- Museum of non-representational art, formerly Studio A, Otterndorf .
- Municipal art collection, Erlangen .
- Art Museum Stuttgart (Teufel Collection)
- Campus museum in the art collections and Situation Kunst - Haus Weitmar, the Ruhr University Bochum .
- Clemens Sels Museum, Neuss .
- Museum Ritter, Waldenbuch .
- Vordemberge-Gildewart-Initiative, Osnabrück .
- Von der Heydt Museum, Wuppertal (Collection Dr. Jürgen and Hildegard Holze)
- kunsthalle messmer (Messmer collection), Riegel am Kaiserstuhl
- Museum of Perception , Graz
- RAUM SCHROTH of the Conceptual Art Foundation in the Museum Wilhelm Morgner , Soest
- Carlernst Kürten Foundation, Unna
See also
literature
- Dietmar Guderian: Mathematics in Art of the Last Thirty Years . Bannstein-Verlag, Ehaben i.Br. 1990, ISBN 3-9802180-1-5 .
- Willy Rotzler: Constructive Concepts: A History of Constructive Art from Cubism to Today . 3. Edition. Zurich 1995, ISBN 3-85504-113-X .
- Gerhard Leistner and Johanna Brade (arrangement): Art as a concept. Concrete and geometric tendencies since 1960 in the work of German artists from Eastern and Southeastern Europe . Regensburg 1996, ISBN 3-89188-074-X (exhibition cat. Regensburg, Museum Ostdeutsche Galerie 1.9.-27.10.1996).
- Dietmar Guderian, Marlene Lauter, Serge Lemoine, Beate Reese, Hella Nocke-Schrepper, Margit Weinberg Staber: Concrete Art in Europe after 1945 . Hatje Cantz Verlag, Ostfildern 2002, ISBN 3-7757-1191-0 .
- Jäger Gottfried, Rolf H. Krauss, Beate Reese: Concrete Photography: Concrete photography . Kerber Verlag, Bielefeld 2005, ISBN 3-936646-74-0 .
- Andreas Filler, Dietmar Guderian, Theo Grundhöfer and Nils Rosehr, Johanna Heitzer, Herbert Henning, Marlene Lauter, Timo Leuders, Matthias Ludwig, Jürgen Roth, Heinz Schumann, Hans-Georg Weigand, Christian H. White, Thomas Weth, Jan Wörler: Ironically, ... mathematics and concrete art . Spurbuchverlag, Baunach 2007, ISBN 3-928155-51-2 . :
- Christoph Metzger, (Ed. On behalf of the International Music Institute Darmstadt) Music and Architecture, Pfau-Verlag, Saarbrücken, 2003, ISBN 3-89727-227-X
- Sabine Fehlemann (Ed.), The Holze Collection - Donation to the Von der Heydt Museum, exhibition catalog of the Von der Heydt Museum, Wuppertal, 2003, ISBN 3-89202-053-1
- Tobias Hoffmann, Museum for Concrete Art, Ingolstadt (ed.): The Idea Concrete , Wienand Verlag Cologne, 2012, ISBN 978-3-86832-121-0 , overview of the development, transformation and impact of Concrete Art from its beginnings to the present
Web links
- Museum Haus Konstruktiv
- Museum in the Kulturspeicher Würzburg
- Museum for Concrete Art Ingolstadt
- Forum Concrete Art Erfurt
- Foundation for concrete art Reutlingen
- Foundation for Concrete Art Roland Phleps, Freiburg
swell
- ↑ NZZ Online, Dec. 14, 2002: Grosse Farbenfuge - for the 100th birthday of Richard Paul Lohse
- ↑ Dr. Alexander Fils (fils fine arts) [1] , accessed April 24, 2019
- ↑ Examples of related art movements: Neoplasticism , Suprematism , Constructivism , Elementarism , Abstraction-Création , Analytical Painting , Minimalism / Minimalism Minimalism , Modernism Modernism , Colorfield Color field , Hard Edge , Op-Art , Geometric Abstraction
- ↑ Willy Rotzler: Approaching the concrete. In: Peter Volkwein (Ed.) Museum for Concrete Art Ingolstadt. 1993, p. 47f., ISBN 3-89466-045-7 , first published in 1990 in the catalog: Concrete Art - the Gomringer Collection, Ulmer Museum, Ulm
- ^ Definition of Concrete Art, Kunsthaus Ketterer [2] , accessed on April 23, 2019
- ↑ quoted from Eugen Gomringer , series and module in the new works by Richard Paul Lohse , in Das Werk - Architektur und Kunst, Issue 11, Pages 739 to 743, Volume 55, 1968 [3] , accessed on April 27, 2019
- ↑ Max Bill / Ketterer [4] , accessed April 23, 2019
- ↑ What is concrete art. Museum of Concrete Art , accessed December 16, 2018 .
- ↑ Susanne Buckesfeld, “Carlernst Kürten. Against the loneliness of the concrete sculpture. Interactive aspects of the stainless steel sculptures by Carlernst Kürten ”; in: Catalog I - KG Schmidt , Carlernst Kürten and companions , ed. as part of the project “Hellweg Konkret - A Region in the Focus of Concrete Art” , Kettler Verlag, Dortmund 2014, ISBN 978-3-86206-415-1 , pp. 90–98.