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Je n’ai foi que dans l’art et, sans lui, je suis perdu. Souvent, j’enferme des tableaux dans l’obscurité d’un container, durant de longues années. Que font les tableaux ainsi enfermés pendant tout ce temps, jusqu’au moment où ils se rappellent à mon souvenir en me faisant signe ? Rien ? Certainement pas, puisqu’ils ont su rassembler des forces pour attirer l’attention sur eux. Après avoir libéré la toile de l’obscurité, je la repeins et une transition s’opère vers un autre état. L’autodestruction a toujours été le but le plus intime, le plus sublime de l’art, dont la vanité devient alors perceptible. Quelle que soit la force de l’attaque, et quand bien même il sera parvenu à ses limites, l’art survivra à ses ruines. I have faith in art alone and without it I am lost. Often I shut paintings away in a dark storage space for many long years. What do paintings shut away in this manner do all that time until they give me a sign to remind me they exist? Nothing? Certainly not since they manage to muster enough strength to attract attention to themselves. After having freed a painting from the dark, I repaint it and a transition towards another state of being takes place. Self-destruction has always been the most intimate and sublime aim of art whose vanity thus becomes visible. However strong the attack and whatever its success in achieving its aims, art will survive its own ruin.

Art --- Aesthetics --- Art and history --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Philosophy --- History and art --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Analysis, interpretation, appreciation --- History --- History in art --- Criticism --- Literature --- Proportion --- Symmetry --- Art and philosophy --- Psychology --- Radio broadcasting Aesthetics --- art --- arts plastiques --- création artistique

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Kiefer, Anselm

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Painting, German --- Peinture allemande --- Kiefer, Anselm, --- Criticism and interpretation.

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For a long time, it was not clear if I would become a writer or an artist, says Anselm Kiefer, whose paintings and sculptures have made him one of the most significant and influential artists of our time. Since he was awarded the Peace Prize by the German Book Trade in 2008, his essays, speeches, and lectures have gradually received more attention, but until now his diary accounts have been almost completely unknown. The power in Kiefers images, however, is rivaled by his writings on nature and history, literature and antiquity, and mysticism and mythology.

The first volume of Notebooks spans the years 1998-1999 and traces the origins and creative process of Kiefers visual works during this period. In this volume, Kiefer returns constantly to his touchstones: sixteenth-century alchemist Robert Fludd, German romantic poet Novalis, Martin Heidegger, Ingeborg Bachmann, Robert Musil, and many other writers and thinkers. The entries reveal the process by which his artworks are informed by his readingand vice versaand track the development of the works he created in the late 1990s. 

Translated into English for the first time by Tess Lewis, the diaries reveal Kiefers strong affinity for language and let readers witness the process of thoughts, experiences, and adventures slowly transcending the limits of art, achieving meaning in and beyond their medium.

Artists --- 7.07 --- Dagboeknotities ; reflecties ; notities ; A. Kiefer --- Kiefer, Anselm °1945 (°Donaueschingen, Duitsland) --- Persons --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Kiefer, Anselm, --- Art --- diaries --- kunstenaarsgeschriften --- Kiefer, Anselm

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Kiefer, Anselm,