A Quote by Georg Baselitz
My Paintings are Battles.
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I'd like to think that I'm a calm and sweet person. I tend to be very playful at home with my children, but in life... we have to fight our battles - our work battles, our political battles, our personal battles - and we're focused.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
All German painters have a neurosis with Germany's past: war, the postwar period most of all, East Germany. I addressed all of this in a deep depression and under great pressure. My paintings are battles, if you will.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
Intelligent martial arts is not getting in battles and winning them. Intelligent martial arts is avoiding battles because battles use up energy, and you can get hurt no matter who you are.
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
The visual palette suggests the creepy pastel paintings of Guy Peellaert (Rock Dreams); the fantasy battles with monsters and samurais echo the muscular landscapes of Frank Frazetta and Boris Vallejo. The movie is like an arrested adolescent's Google search run amok.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
A person of knowledge and power never goes out looking for battles. All their battles are within.
Each generation thinks it fights new battles. But the battles are the same. Only the people are different.
The battles that count aren't the ones for gold medals. The struggles within yourself - the invisible, inevitable battles inside all of us - that's where it's at.
A New York audience generally likes decorative paintings, and decorative paintings go with the couch. If you change the couch, you change the painting. And when you're coming up, and the paintings aren't first-class decoration, you're at a disadvantage for publicity and sales.
The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.
I want to make beautiful paintings. But I don't make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn't work. I expect my paintings to be strong and surprising.
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