A Quote by Kenneth Noland

Clem had made it known that Pollock was a great painter. — © Kenneth Noland
Clem had made it known that Pollock was a great painter.
I came to my first Colts training camp in July of 1950, and it was murder, absolute murder. We had a coach named Clem Crow who must have been nuts. You got to remember that I'd been a Marine, had gone through basic training and spent 26 months in the Pacific during WWII, but the Marine drill instructors had nothing on Clem.
Pollock was well known, certainly, but for all the wrong reasons. He was known as much for being wild and unconventional in his working methods as for being a great artist.
I would much rather be known as the mother of a great son than the author of a great book or the painter of a great masterpiece.
And I started with this: I have not painted at all my childhood. In fact, I never painted. But I helped my father who was a house painter and decorative painter. He made stage sets, he made glass paintings, he made everything.
If the choice is between buying another building or a Pollock, I'd go for the Pollock every time.
In the past 10 years, I've looked at life as this Pollock stuff. And now I'm almost in the post Pollock phase.
To evoke the classic period of Italian cinema in a little film seemed like a great, fun thing to do. I had relations to that period. I had known Fellini and I had known Antonioni. I had made a movie with Antonioni and I had visited Fellini in his studios. So, it seemed like something worthwhile doing. You bring yourself to that mythical cinema.
The great artist, whether he be musician, painter, or poet, is known for this absolute unexpectedness.
Had I known of the actual horrors of the German concentration camps, I could not have made The Great Dictator, I could not have made fun of the homicidal insanity of the Nazis.
Paint records the most delicate gesture and the most tense. It tells whether the painter sat or stood or crouched in front of the canvas. Paint is a cast made of the painter's movements, a portrait of the painter's body and thoughts.
Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.
I was a bellman - a great hotel, five-star hotel in Boston. I made great money. I made cash every day. I had good benefits. We had 401k. All the things you could ask for in a great job, I had. You know what I didn't have? I hated my job.
I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.
They were indeed what was known as 'old money', which meant that it had been made so long ago that the black deeds which had originally filled the coffers were now historically irrelevant. Funny, that: a brigand for a father was something you kept quiet about, but a slave-taking pirate for a great-great-great-grandfather was something to boast of over the port. Time turned the evil bastards into rogues, and rogue was a word with a twinkle in its eye and nothing to be ashamed of.
I always think about what's the difference between being tenacious and having an inability to learn from failures. The difference between the homeless guy who wanted to be a great painter and the guy who is a great painter could be anything.
A painter was asked why, since he made such beautiful figures, which were but dead things, his children were so ugly; to which the painter replied that he made his pictures by day, and his children by night.
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