A Quote by Asger Jorn

Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting. — © Asger Jorn
Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.
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.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
Good painting is nothing else but a copy of the perfections of God and a reminder of His painting. Finally, good painting is a music and a melody which intellect only can appreciate, and with great difficulty.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
I have never heard a dancer asking for advice about how to stay focused on her footwork, or a painter complaining about the dull day-to-day task of painting. What task worth doing isn't worth daily effort? Do you think Michelangelo was having fun the whole time he was on his back painting the Sistine Chapel's ceiling?
The coming and going of birth and death is a painting. Unsurpassed enlightenment is a painting. The entire phenomenal universe and the empty sky are nothing but a painting.
Painting is traditional but for me that doesn't mean the academy. I felt a need to paint; I love painting. It was something natural - as is listening to music or playing an instrument for some people. For this reason I searched for themes of my era and my generation. Photography offered this, so I chose it as a medium for painting.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.
This site uses cookies to ensure you get the best experience. More info...
Got it!