What the gods have been allowed-a set about art and a call
After a flowering period in the Renaissance, the visual arts were in a virtuosity without content, full of literary and theatrical influences, which do not belong. A new start had to be made. The instruments and the expression possibilities of the visual arts were investigated. Much has been experimented. Picasso had a leading role in the research into the basic elements of painting.
Picasso forked the zeitgeist by "showing the torn face" (quote from a review). This is a fatal misconception. Art should not show its time, not what the day serves or harms. That already manifests itself constantly with its own symbols and tools. The violated face is already there. But how time could be, what our inner happiness serves is to be continually created. That is why the artist has to offer skin and hand and head and heart. The focal point of attention in the development of the art and the thought speculations that belong to it, lay in the appearance, so that the inner, spirit-driven experience had to depart. For instance, thinking about the image and the examination of images, which had been decoupled, was independent, no longer in function of that inner purpose. An artistic vivisection.
The art lover has no interest in such research. His soul yearns for inspiration and encouragement, not for "interesting" experiments. His deepest desire is not reflected in this. Intuitively the art enthusiast resists as he gets tubers for lemons. Even though one tries to educate him by art education and constructive texts.
This frivolous game with the exploration and exploitation of the visual arts is a cheap compensation for the lack of the real struggle that must be fought. The artist is more than ever just about the riddle of being and there, to face and to live it, to create the authentic display. That art is then a testimony of the love for life.
This is not a personal confession. Then art is sticking in a suggestive gesture or a romantic story. It is a superpersonal imagination. The Greeks already knew: ' Quot Licet Jovi, non licet Bovi ' '. What the gods are allowed-what the gods can-is the beef not permissible-the beef cannot. The deity and the beef are in us. The only thing that fits the beef is to be serviceable. The inspiration from the upper world, the beef, the person with his talent, must give shape.
The reach already reached is the purpose of the Epigoon: imitated-or worse-deception, because he mirrors a truth that is not his. First, the desire to count with it must be sublimated to the desire to realize, in addition to others, the own truth, however small.
Art arises at the moment in the design on which all the abilities of the artist are "occupied", "over-rigged" by a deep necessity from an elusive, inner world. Without this influence, the design process remains a picket fence of dead forms, at most a curiosum.
In the visual arts, the inner life of the artist, as it were, is the die whose work is shed. The development of his art, both content and material, is determined by the growth of his consciousness. This process is now no different from the time of the first cave drawings and will be the same in a thousand years. Art arises only when the artist can submit himself to the law of Awakening and bearing: the Law of Love. Not the eroded barter of affection, but the force, which is more intransigence than water, more powerful than gravity, which absorbs whole solar systems in them. Toned and transformed to the level of human experience: this power is incorporated into this force to light up and to lift out of its greylag distress, and to alter death material in art.
Rebellion
This set-up is not the result of systematic thinking, but is a spontaneous design, as it has served. The various statements must clarify each other. The recapitulatory title "The rebellion" stems from forestry and indicates a group of similar trees between different.
Call
This set-up seeks to create and unite artists in the consciousness of their vocation. Road-users of a coming civilization.
Proclamation
We want to give birth to an art that is a direct reflection of the process in which the physical ability to shape is unconditionally serviceable to the impulses from a universal ordinating principle in the artist, who for that purpose the authentic Creates visual equivalents. It involves the exchange and transfer of the essential of two separate worlds. A causal world and a world of workings, both with their own legality and substance. Art is a language of the soul. Art is examples. The best thing that lives in a man, a city, a country, a people, transpositions into an imagination. An example to be able to experience the formed and to form itself
Art is a transsubstantial act
Jan Wessendorp