The purism manifesto
Purism does not intend to be a scientific art, which it is in no sense.
Cubism has become a decorative art of romantic ornamentism.
There is a hierarchy in the arts: decorative art is at the base, the human figure at the summit.
Painting is as good as the intrinsic qualities of its plastic elements, not their representative or narrative possibilities.
Purism wants to conceive clearly, execute loyally, exactly without deceits; it abandons troubled conceptions, summary or bristling executions. A serious art must banish all techniques not faithful to the real value of the conception.
Art consists in the conception before anything else.
Technique is only a tool, humbly at the service of the conception.
Purism fears the bizarre and the original. It seeks the pure element in order to reconstruct organized paintings that seem to be facts from nature herself.
The method must be sure enough not to hinder the conception.
Purism does not believe that returning to nature signifies the copying of nature.
It admits all deformation is justified by the search for the invariant.
All liberties are accepted in art except those that are unclear.
Purism created by Amédée Ozenfant 1886-1966 & ”Le corbusier” Charles-Édouard Jeanneret 1887-1965.
Amédée Ozenfant, Max Jacob 1876-1944, Guillame Apollinaire 1880-1918 (1915-1916) magazine L’Elan (vigorous spirit).
Amédée Ozenfant & ”Le corbusier” Charles-Édouard Jeanneret (1918) Après le cubisme (after cubism).
Amédée Ozenfant & ”Le corbusier” Charles-Édouard Jeanneret (1920-1926) magazine L’Esprit nouveau (the new spirit).
The first exhibition with the art purism was in december 21, 1918.
Ball explains that Purism was an attempt to restore regularity in a war-torn France post World war I.
Susan Ball (1975-1981) Ozenfant and purism: The evolution of a style 1915–1930. UMI research press.
Helge Lindén 1897-1961, represents purism in the Nordic countries.
Studied at Carl Wilhelmsons art school Stockholm 1923-1925 (Carl Wilhelmson 1866-1928).
Studied art by Cézanne, Gaugin, quattrocento (1400-1499) & Italian architecturein Italy, Germany, France 1925-1926.
Studied at Académie scandinave maison Watteau in Montparnasse, Paris c. 1926-1928 (art school of artists Joseph ”Otte” Sköld 1894-1958 China/Sweden, Henrik Sørensen 1882-1962 Norway, Adam Fischer 1888-1968 Denmark, Per Krogh 1880-1965 Norway & head of school was Lena Börjeson 1879-1876 Sweden, maison Watteau was a school, a gallery, a meeting point for art 1919-1935).
Studied art in Denmark, Norway 1937-1939.
Helge Linden was commissioned for public art with several wallpaintings e.g. Ungdomsåren (adolescence) 1949-1950 in småskoleseminarium (junior school seminar) Haparanda.
The collection Helge Lindens minne (Helge Linden memory) started by Ingmar Flodström 1921-unknown at Västerbottens läns konstförening (Westrobothnia association for art) 1962, foundation Helge Linden minne founded 1966 to collect purist art, city of Umeå and Västerbottens (province Westrobothnia) museum, Umeå.
Helge Linden 1897-1961(1938-1940) Afton (evening). Helge Lindens minne, Västerbottens (province Westrobothnia) museum. Photography unknown.
Helge Linden 1897-1961 (1940) Hustak, Tegnergatan (roofs at Tegnergatan). Helge Lindens minne, Västerbottens (province Westrobothnia) museum. Photography unknown.
Helge Linden 1897-1961 (1958-1961) Flicka på bänk (girl on a bech) Helge Lindens minne, Västerbottens (province Westrobothnia) museum. Photography unknown.
Helge Linden 1897-1961 (1938) Storhässja i sommarnatt (large hay fence in summer night) Photography unknown.
Helge Linden 1897-1961 (year unknown) Hamn (harbour) Helge Lindens minne, Västerbottens (province Westrobothnia) museum. Photography unknown.
Helge Linden 1897-1961in his studio in Västerbottens folkblad (Westrobothnia people news paper). Photography & year unknown.