Asger Jorn quotes
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.
Asger Jorn
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.
Asger Jorn
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.
Asger Jorn
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
Breton's Surrealists wanted to place themselves outside. What is it what they want to put outside? Pure thought. That is, the only metaphysical world, reflection. But from a materialistic standpoint thought is a reflection of matter - as in a mirror. The metaphysical world is not able to surmount the material world which produces it. One has to think of SOMETHING. But for thought to be dialectical, it's object / it's "thing" must cease to be attached to everyday life.
Asger Jorn
The reckoning with idealism as a view of life is universal, but it also touches on something central in art-its life's substance. One must understand that it is impossible to distinguish between a picture's form and its substance. As the flower's structure is governed by the intentional tension (when it loses the sap the form is lost), so also with art the substance creates the tension. Form and substance are one and the same. Form is the life expression and substance the living painting.
Asger Jorn
An example of this way of thinking is an exchange that took place when someone told Goethe that he admired him for his genius, towering over German intellectual life like a gigantic mountain, to which Goethe replied that "great mountains are found only in mountainous landscapes." The traditional history of art is concerned exclusively which such mountain peaks, and often, as Goethe critically pointed out, they are not even seen in relation to each other.
Asger Jorn
