Best 32 quotes of Asger Jorn on MyQuotes

A creative train of thought is set off by: the unexpected, the unknown, the accidental, the disorderly, the absurd, the impossible.

Anything really new is repulsive, because it is abnormal and unreasonable.

Beautiful, ugly, impressive, disgusting, meaningless, grim, contradictory etc … It makes no difference, as long as it is life, vigorously pouring forth.

Being an artist is being an isolated individual.

During every really creative act, the artist finds himself homeless. To overcome this state he has to call up his last reserves of strength.

Everything is in constant flux, from state to state, from good to bad and back again... only in transmutation, perpetual motion, lies truth.

Form and substance are one and the same. Form is the life expression and substance the living painting.

I act with full responsibility and after extensive reflection.

If a symbolic language dies, it tortures us like a nightmare, like a thousand piece orchestra grating on our nerves and tearing our mind to pieces.. .It is a corpse with no symbolic power or strength.

If the image was sketched onto the canvas and spontaneously drawn, colour would often be restrained and unfree... The most important and the most difficult liberation process we went trough, the one that has distinguished our art, was the freeing of colour, the transition to a painterly spontaneity.

If you add something to a painting, never let it be for aesthetic reasons. Only let it be for reasons of expression.

In 1939 I wrote my first article ("Intime banaliteter" [Intimate banalities] in the journal Helhesten) in which I expressed my love for sofa painting, and for the last twenty years I have been preoccupied with the idea of rendering homage to it. Thus I act with full responsibility and after extensive reflection. Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.

It is said that my art has some typically Nordic features: the curving lines, the convolutions, the magical masks and staring eyes that appear in myths and folk art. This may be. My interest in the dynamics of Jugend style probably also comes into it.

My work is based on a tradition quite distinct from the Eckersberg tradition, a Nordic line of development that had never been clearly and consistently defined in the literature on art. This line is not a straight one; it has the strangest and most fascinating twists and curves, and includes such artists as Edvard Munch, Ernest Josephson, Hill, Hansen Jacobsen, Johannes Holbek, Jens Lund, and Emile Nolde. Not all of them equally well known.

Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.

The artistic formulae wear thin quickly and yet daily the artist - when developing his own foundation - must enter his own time and the problems of other contemporary artists. Paths cross and the soil of time is starting to be turned.

The artist's interest cannot be restricted to a single field; he must seek the highest perception of everything, of the whole and its details.

The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics.

The reverse process is extremely important to me - that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words.

The significance of something lies in its presence here and now. I don't care what it has been or what it will become. It is the experience of things that matters, the confrontation with things.

This is what aesthetics, development and progress depend upon: that we go out on thin ice.

Those who try to combat the production of shoddy pictures are enemies of the best art today... It always feels tragic to see people labouring to saw off the branch they are sitting on.

To break and be able to grow together again in a better way: that is the difficult art.

To get anywhere, one must choose one's mistakes, I chose experimental acts.

To make the material speak to man in the name of man, this is the aim and reality of art.

To understand the magic way of thinking you have to know non-magic thinking. If you see that clearly, you will see how many magic thoughts are necessary elements even of natural science today.

True realism, materialist realism lies in the search for the expression of forms faithful to their content. But there is no content detached from human interest.

We are not disillusioned because we have no illusions... What we have and what is our strength, is our joy in life... in all its amoral aspects. That is also the basis of our contemporary art.

We are not talking about a new cognition in relation to abstract art, rather a new area of cognition.

We have defined art as the life form and aesthetic art as the life renewal: the stimulating, animating, agitating, inspiring, inspirational, fermenting, fascinating fanaticising, explosive and outrageous: the renewal of the unknown.

We like to learn all we need from earlier generations, but we have to find out for ourselves what we need; nobody else can do that for us.

You can often give a better description of the fight between people, the essentials of it, by means of fantastic animals, the simple, primitive, naked instincts, than by depicting a specific situation. It is not the human animal we should describe, but ourselves as human animals.