A Quote by Jack Levine

Now painting is different. It's something recollected in tranquility. — © Jack Levine
Now painting is different. It's something recollected in tranquility.
Poetry is the outcome of emotions recollected in tranquility.
Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility.
Painted time is a different zone. This is why I don't believe that a painting - although I've been accused of it many times now - can be truly topical. A painting's physicality gives it a different persistence and a different perception.
An adventure is never an adventure when it happens. An adventure is simply physical and emotional discomfort recollected in tranquility.
Fishing books , lit by emotion recollected in tranquility, are like poetry. .. . We do not think of them as books but as men. They are our companions and not only riverside. Summer and winter they are with us and what a pleasant company they are.
A lot of poems seem, in some sense, to pull the outside world into the interior. They aren't perhaps emotion recollected in tranquillity but perception recollected in interiority.
A writer works from the material she has, but it comes from the unconscious. Everything is stored up and one never knows what comes up to the surface at a given moment. A period of gestation is certainly needed, what Wordsworth called ‘emotion recollected in tranquility.’ You cannot write about an experience when you are living it, suffering it. You are too busy surviving to look at it objectively. At least I can’t.
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.
I come from a painting background, and although my painting is completely different from my performances, there is something about the fundamentals of that training that transfers over to this idea of an exercise and being diligent about mapping something out in advance - even if it is just being aesthetically diligent.
One thing that really interests me is-and it comes out of Chinese and Japanese painting-where you have a number of different kinds of space in the same painting. You have a kind of deep space, and then you have something like right up on the surface.
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.
I distrust summaries, any kind of gliding through time, any too great a claim that one is in control of what one recounts; I think someone who claims to understand but is obviously calk, someone who claims to write with emotion recollected in tranquility, is a fool and a liar. To understand is to tremble. To recollect is to re-enter and be riven. ... I admire the authority of being on one's knees in front of the event.
The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.
I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
I tried different techniques during my career, but I especially fell in love with painting with oil and pallette-knife. Every artwork is the result of long painting process; every canvas is born during the creative search; every painting is full of my inner world.
There are different kinds of painting, some with lights and some without, but still if you look at any painting here (in the light) and then over here (out of the light) it's an entirely different thing. The consciousness of this came to the Impressionists and I'm very interested in that.
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