A Quote by Francis Bacon
Painting gave meaning to my life which without it would not have had
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Travel was pointless. It removed you from the place in which you had a meaning, and to which you gave meaning in return by dedicating your life to it, and it spirited you away into fairylands where you were, and looked, frankly absurd.
l can do very well without God both in my life and in my painting, but l cannot, ill as I am, do without something which is greater than l, which is my life — the power to create.
What any true painting touches is an absence - an absence of which without the painting, we might be unaware. And that would be our loss.
I can very well do without God both in my life and in my painting, but I cannot, suffering as I am, do without something which is greater than I am, which is my life, the power to create.
Life is without meaning. You bring the meaning to it. The meaning of life is whatever you ascribe it to be. Being alive is the meaning.
A world without right or wrong was a world that did not want itself, anything other than itself, or anything not those two things, but that still wanted something. A world without right or wrong invited you over, complained about you, and gave you cookies. Don't leave, it said, and gave you a vegan cookie. It avoided eye contact, but touched your knee sometimes. It was the world without right or wrong. It didn't have any meaning. It just wanted a little meaning.
Losing Bogey was horrible, obviously. Because he was young. And because he gave me my life. I wouldn't have had a - I don't know what would have happened to me if I hadn't met him. I would have had a completely different kind of life. He changed me, he gave me everything. And he was an extraordinary man.
It seems that it is impossible to live without discovering the purpose of your life. And the first thing which a person should do is to understand the meaning of life. But the majority of people who consider themselves to be educated are proud that they have reached such great height that they cease to care about the meaning of existence.
If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.
If I wanted to be free, truly free, I had to choose. There were many points on the compass rose; I had to locate the few that were meant for me. Not any destination picked at random; I had to head for those that summoned me with a passion, for they were the ones that gave meaning to my life. I had to ignore the warnings of those who would tell me why I couldn't do what I wanted to do.
Poke gave him life. Ender gave it meaning.
History, we can confidently assert, is useful in the sense that art and music, poetry and flowers, religion and philosophy are useful. Without it - as with these - life would be poorer and meaner; without it we should be denied some of those intellectual and moral experiences which give meaning and richness to life. Surely it is no accident that the study of history has been the solace of many of the noblest minds of every generation.
Life without meaning
cannot be borne.
We find a mission
to which we're sworn
-or answer the call
of Death's dark horn.
Without a gleaning
of purpose in life,
we have no vision,
we live in strife,
-or let blood fall
on a suicide knife.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
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