A Quote by Carl Van Vechten

I've photographed everybody from Matisse to Isamu Noguchi. — © Carl Van Vechten
I've photographed everybody from Matisse to Isamu Noguchi.
A few of the influences on my career so far have been Isamu Noguchi, Irving Penn, and seeing the riots of 1968 in Paris.
If Mr. Obama could walk across the Peace Bridge in Hiroshima - whose balustrades were designed by the Japanese-American sculptor Isamu Noguchi as a reminder both of his ties to East and West and of what humans do to one another out of hatred - it would be both a real and a symbolic step toward creating a world that knows no fear of nuclear threat.
Matisse draws what I call the essence of the plants. He leaves a shape open. He'll do a leaf and not close it. Everybody used to say, oh, I got it all from Matisse, and I said, 'Not really.'
You cannot deny your origins: I love Kirchner more than Matisse, although Matisse was a greater artist. That isn't to do with nationality. It's a stronger feeling.
In their pursuit of the same supreme end, Matisse and Picasso stand side by side, Matisse representing color and Picasso form.
Art comes from art: I remember going to the Matisse show and seeing how Matisse had taken one of his own paintings, worked from it and transformed it, and that had led on to the next one and the next.
The Matisse seemed to respond to the decreasing light by increasing its own wattage. Every object in the room was drained of color, but the Matisse stood firm in the de-escalating illumination, its beauty turning functionality inside out, making itself a more practical and useful presence than anything else in sight.
Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
What has changed is that when I photographed, most people that I photographed didn't have the right of refusal on their work. It would take a Marilyn Monroe at her height to be able to dictate that.
When I was photographed, I didn't feel I was acting. I just felt I was being photographed. It sort of taught me things about myself that I didn't know and was trying to find out.
When I was being photographed, I always felt very much in my own skin. That's probably one of the reasons why I enjoy being photographed.
Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos.
People didn't object to me taking their photo. It was something everybody thought was their due: to be King for a Day, win the lottery and be photographed.
When you are 18, 19, 20, you're used to being photographed all the time, in a certain way. So, the narcissism becomes almost out of control. And the way that young women are photographed, they become addicted to this feedback of the image.
I just yesterday returned from a trip where I photographed a woman with two children whom I photographed first when she was the age of the older of the two children.
Freaks was a thing I photographed a lot. It was one of the first things I photographed, and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them.
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