Quotes of All Topics . Occasions . Authors
An artist who brings to his work a mind tolerably furnished with the general principles of art, and a taste formed upon the works of good artists in short, who knows in what excellence consists - will, with the assistance of models... be an overmatch for the greatest painter that ever lived who should be debarred such advantages.
The primary function of art is not to imitate or represent or interpret, but to create a living thing; it is the reduction of all life to a perfectly composed and dynamic miniature - a microcosm where there is perfect balance of emotion and intellect, stress and strain resolving itself, form rhythmically poised in three dimensions.
Everything is a meaningless struggle against nothing and when people say that the world has become a better place that is a false development-optimism. Nothing exists which ever becomes better. Everything stays the same. Somehow, there is nothing. That is so sad. Nothing to come to. Everything is an illusion. A very sweet illusion.
Art on the contrary sought this harmony in practice [of art itself]. More and more in its creations it has given inwardness to that what surrounds us in nature, until, in Neo-Plasticism, nature is no longer dominant. This achievement of balance may prepare the way for the fulfillment of man and signal the end of (what we call) art.
I got a job in the tear-sheets department, ripping up magazines like People, Fortune, Sports Illustrated, and Time, and delivering the editorial pages.... So I began to use a camera to make fake photographs of the ads. By re-photographing a magazine page and then developing the film in a cheap lab, the photos came out very strange.
The No. 1 quote critics give me is, 'Thom, your work is irrelevant.' Now, that's a fascinating, fascinating comment. Yes, irrelevant to the little subculture, this microculture, of modern art. But here's the point: My art is relevant because it's relevant to 10 million people. That makes me the most relevant artist in this culture.
I feel such a creative force in me: I am convinced that there will be a time when, let us say, I will make something good every day , on a regular basis....I am doing my very best to make every effort because I am longing so much to make beautiful things. But beautiful things mean painstaking work, disappointment, and perseverance.
Manet wanted one day to paint my wife and children. Renoir was there. He took a canvas and began painting them, too. After a while, Manet took me aside and whispered, 'You're on very good terms with Renoir and take an interest in his future - do advise him to give up painting! You can see for yourself that it's not his metier at all.
But the sound of water escaping from mill-dams, &c., willows, old rotten planks, slimy posts, and brickwork, I love such things. Shakespeare could make everything poetical; he tells us of poor Tom's haunts among "sheep cotes and mills." As long as I do paint, I shall never cease to paint such places. They have always been my delight.
A sort of war of revenge on the intellect is what, for some reason, thrives in the contemporary social atmosphereThe ideas of a time are like the clothes of a season: they are as arbitrary, as much imposed by some superior will which is seldom explicit. They are utilitarian and political, the instruments of smooth-running government.
Nature, the sun itself, produces color effects... instantaneously. The impression of these evanescent visions is what we make desperate attempts to catch and fix by any means at hand. At such moments I am unconscious of materials, of style, of rules, of everything that intervenes between my perception and the object or idea perceived.
The output is far from smooth, and the impact on dispatchable plant required to deal with residual demand is highly significant. Our view is that plant operating under these conditions in the support role for wind will suffer: 1) reduced availability, 2) significantly reduced efficiency, and thus 3) higher emissions per MWh generated.
Photography has arrived at the point where it is capable of liberating painting from all literature, from the anecdote, and even from the subject. In any case, a certain aspect of the subject now belongs to the domain of photography. So shouldn't painters profit from their newly acquired liberty, and make use of it to do other things?
My fear of life is necessary to me, as is my illness. Without anxiety and illness, I am a ship without a rudder. My art is grounded in reflections over being different from others. My sufferings are part of my self and my art. They are indistinguishable from me, and their destruction would destroy my art. I want to keep those sufferings
The saying "the business of art is different than the purpose of art" makes sense, and what are you going to do about that? You have some obligation to get the work out there, you believe in it enough that it should be out in the public, but of course it goes through a system that takes it pretty far away from the reasons you made them.
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.
I think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art and the practice of art at arm's length, the ability to sort of clinically and coldly remove oneself from the picture and to see it simply as a set of rules, habits, systems, moving parts.
Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.
I know very well that because I am unlettered some presumptuous people will think they have the right to criticize me, saying that I am an uncultured man. What stupid fools! Do they not know that I could reply to them as Marius did to the Roman patricians: "Do those who pride themselves on the works of other men claim to challenge mine?
I think that at its best, painting can be an act of juggling perceptions, a hall of mirrors. And it can be a bit confusing and scattering. But as the artist, as the man behind the velvet rope who controls the smoke and the mirrors and the way that things move in the painted space, what I want to do is to try my best to be a good witness.
I was walking along a road one evening – on one side lay the city, and below me was the fjord. The sun went down – the clouds were stained red, as if with blood. I felt as though the whole of nature was screaming – it seemed as though I could hear a scream. I painted that picture, painting the clouds like real blood. The colours screamed.
I sit for two or three hours and then in 15 minutes I can do a painting, but that's part of it. You have to get ready and decide to jump up and do it; you build yourself up psychologically, and so painting has no time for brush. Brush is boring, you give it and all of a sudden it's dry, you have to go. Before you cut the thought, you know?
I don't think my work is so much about opening up wounds. I think it's about understanding the nature of the wound. I'm not bleeding on the canvas. I, like most people, have suffered traumatic events. The character of a person's life is determined by the way they deal with those events. I am a creative person and I deal with it creatively.
Those who are in love with practice without knowledge are like the sailor who gets into a ship without rudder or compass and who never can be certain whether he is going. Practice must always be founded on sound theory, and to this Perspective is the guide and the gateway; and without this nothing can be done well in the matter of drawing.
The essential of a real picture is that the things which occur in it occur to him in his peculiarly personal fashion.. ..the idea of modernity is but a new attachment of things universal - a fresh relationship to the courses of the sun and to the living swing of the earth - a new fire of affection for the living essence present everywhere.
I'd like to have every gentleman and lady in this room commit themselves to get our government to legalize drugs. So they have to get it through a doctor, not just some gangsters who sell it under the table. Let's legalize drugs like they did in Amsterdam. No one's hiding or sneaking around corners to get it. They go to a doctor to get it.
What am I in the eyes of most people - a nonentity, an eccentric, or an unpleasant person - somebody who has no position in society and will never have; in short, the lowest of the low. All right, then - even if that were absolutely true, then I should one day like to show by my work what such an eccentric, such a nobody, has in his heart.
Revolutionary politics, revolutionary art, and oh, the revolutionary mind, is the dullest thing on earth. When we open a revolutionary review, or read a revolutionary speech, we yawn our heads off. It is true, there is nothing else. Everything is correctly, monotonously, dishearteningly revolutionary. What a stupid word! What a stale fuss!
It is the first vision that counts. The artist has only to remain true to his dream and it will possess his work in such a manner that it will resemble the work of no other... for no two visions are alike, and those who reach the heights have all toiled up steep mountains by a different route. To each has been revealed a different panorama.
I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to - because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.
What do you think an artist is? An imbecile who has only his eyes if he's a painter, or ears if he's a musician, or a lyre at every level of his heart if he's a poet, or even, if he's a boxer, just his muscles? On the contrary, he's at the same time a political being, constantly alive to heart-rending, burning, or happy events in the world.
What came out of that was an intense obsession with status anxiety. So much of these portraits are about fashioning oneself into the image of perfection that ruled the day in the 18th and 19th centuries. It's an antiquated language, but I think we've inherited that language and have forwarded it to its most useful points in the 21st century.
Every day I strive to get to a place where I'm not effected by the external world, and I don't use the external world to define or tell me who I am. I strive for a state of equanimity and calm and a state of grace, so I can be free of definitions. If you are free, then you can create beautiful things. It's really just shutting out the noise.
When the sun is covered by clouds, objects are less conspicuous, because there is little difference between the light and shade of the trees and the buildings being illuminated by the brightness of the atmosphere which surrounds the objects in such a way that the shadows are few, and these few fade away so that their outline is lost in haze.
I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.
If you work diligently... without saying to yourself beforehand, 'I want to make this or that,' if you work as though you were making a pair of shoes, without artistic preoccupation, you will not always find you do well. But the days you least expect it, you will find a subject which holds its own with the work of those who have gone before.
The art I like concentrates on the body. I don't have a feel for Poussin, but for Courbet, Velásquez - artists who get to the flesh. Visceral artists - Bacon, Freud. And de Kooning, of course. He's really my man. He doesn't depict anything, yet it's more than representation, it's about the meaning of existence and pushing the medium of paint.
Nature has placed in the front part of man, as he moves, all those parts which when struck cause him to feel pain; and this is felt in the joints of the legs, the forehead and the nose, and has been so devised for the preservation of man, because if such pain were not felt in these limbs they would be destroyed by the many blows they receive.
If one has such an encounter it is to be expected it will bring him into conflict, especially conflict with himself, because one sometimes literally does not know what to do or what not to do. But is this struggle and even the mistakes one may make, not better, and do they not develop us more than if we keep systematically away from emotions?
Many great writers address audiences who do not exist; to address passionately and sometimes with very great wisdom people who do not exist has this advantage - that there will always be a group of people who, seeing a man shouting apparently at somebody or other, and seeing nobody else in sight, will think it is they who are being addressed.
There is a thing about beauty. Beauty is always associated with the male fantasy of what the female body is. I don’t think there is anything wrong with beauty. It’s just what women think is beautiful can be different. And there can be a beauty in individualism. If there is a wart or a scar, this can be beautiful, in a sense, when you paint it.
From the very beginning, art meant something very important to the people who made it. It was a correspondence of the emotions to what you saw; it wasn't knowledge. You were being at one with something eternal; something outside of yourself. And no matter how many fake things have been brought in to suit other conditions... That is still true.
The Bactrian have two humps; the Arabian one only. They are swift in battle and most useful to carry burdens. This animal is extremely observant of rule and measure, for it will not move if it has a greater weight than it is used to, and if it is taken too far it does the same, and suddenly stops and so the merchants are obliged to lodge there.
In the first manifesto that we launched on the 8th of March, 1910, from the stage of the Chiarella Theater in Turin,1 we expressed our deep-rooted disgust with, our proud contempt for, and our happy rebellion against vulgarity, mediocrity, the fanatical and snobbish worship of all that is old, attitudes which are suffocating Art in our Country.
Reverence is an ennobling sentiment; it is felt to be degrading only by the vulgar mind, which would escape the sense of its own littleness by elevating itself into an antagonist of what is above it. He that has no pleasure in looking up is not fit so much as to look down. Of such minds are mannerists in Art; in the world, tyrants of all sorts.
If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
The artists of Asia have spiritually realized form, rather than aesthetically invented or imitated form, and from them I have learned that art and nature are mind's Environment within which we can detect the essence of man's Being and Purpose, and from which we can draw clues to guide our journey from partial consciousness to full consciousness.
It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.
In an atmosphere of uniform density the most distant things seen through it, such as the mountains, in consequence of the great quantity of atmosphere which is between your eye and them, will appear blue. Therefore you should make the building... wall which is more distant less defined and bluer... five times as far away, make five times as blue.
Shadow is the obstruction of light. Shadows appear to me to be of supreme importance in perspective, because, without them opaque and solid bodies will be ill defined; that which is contained within their outlines and their boundaries themselves will be ill-understood unless they are shown against a background of a different tone from themselves.