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The product of movement and counter-movement is tension. When tension working strength is expressed, it endows the work of art with the living effect of coordinated, though opposing, forces.

Hans Hofmann

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Hans Hofmann
Age: 85 †
Born: 1880
Born: January 1
Died: 1966
Died: January 1
Architect
Artist
Drawer
Painter
Weißenburg/Bayern
Hans Georg Albert Hofmann
Johann Georg Albert Hofmann
Johann Hofmann
Hans Hoffman
Hans. Hofmann
Hans Hofmann (1880-1966)
Hofmann
Movement
Expressed
Though
Tension
Working
Product
Force
Forces
Living
Effect
Endows
Art
Products
Coordinated
Work
Effects
Counter
Strength
Opposing

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A work of art is a world in itself reflecting senses and emotions of the artist's world.
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To experience visually, and to transform our visual experience into plastic terms, requires the faculty of empathy.
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It is not the form that dictates the color, but the color that brings out the form.
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I can't understand how anyone is able to paint without optimism. Despite the general pessimistic attitude in the world today, I am nothing but an optimist.
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Genius is gifted with a vitality which is expended in the enrichment of life through the discovery of new worlds of feeling.
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A work of art is finished, from the point of view of the artist, when feeling and perception have resulted in a spiritual synthesis.
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Art cannot result from sophisticated, frivolous, or superficial effects.
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Creation is dominated by three absolutely different factors: First, nature, which works upon us by its laws second, the artist, who creates a spiritual contact with nature and his materials third, the medium of expression through which the artist translates his inner world.
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There is in reality no such thing as modern art. Art is carried on up and down in immense cycles through centuries and civilizations.
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Every art expression is rooted fundamentally in the personality and temperament of the artist.
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Art is to me the glorification of the human spirit, and as such it is the cultural documentation of the time in which it is produced.
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Just as counterpoint and harmony follow their own laws, and differ in rhythm and movement, both formal tensions and color tensions have a development of their own in accordance with the inherent laws from which they are separately derived. Both, however, aim toward the realization of the same image. And both deal with the depth problem.
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The whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art.
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To worship the product and ignore its development leads to dilettantism and reaction.
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The art of pictorial creation is so complicated - it is so astronomical in its possibilities of relation and combination that it would take an act of super-human concentration to explain the final realization.
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Color is a plastic means of creating intervals... color harmonics produced by special relationships, or tensions. We differentiate now between formal tensions and color tensions, just as we differentiate in music between counterpoint and harmony.
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A work of art is a world in itself reflecting senses and emotions of the artist's world. Just as a flower, by virtue of its existence as a complete organism is both ornamental and self-sufficient as to color, form, and texture, so art, because of its singular existence is more than mere ornament.
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Nature's purpose in relation to the visual arts is to provide stimulus not imitation. From its ceaseless urge to create springs all Life - all movement and rhythm - time and light, color and mood - in short, all reality in Form and Thought.
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Being inexhaustible, life and nature are a constant stimulus for a creative mind.
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The plastic artist may or may not be concerned with presenting a superficial appearance of reality, but he is always concerned with the presentation - if not the representation - of the plastic values of reality.
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