A Quote by Paul Cezanne
A thousand painters ought to be killed yearly. Say what you like: I'm every inch a painter.
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There ought to be an absolute dictatorship... a dictatorship of painters... a dictatorship of one painter... to suppress all those who have betrayed us.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
Every time somebody writes a theory about where literature's going, that person is not only contributing thought but nudging things to happen in one way or the other. Just as in painting, there's much more interest in the American scene painters and the early American... like the Ashcan school of painters. Who would have thought, 50 years ago, that Norman Rockwell would again be considered a serious painter? And yet, there are a lot of people who are saying Rockwell was a very accomplished technician. These things are constantly moving.
I will compensate all your one-inch, two-inch losses because I know how important every inch is to you aged, decrepit men.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
When you talk about painters and you talk about painters painting masterpieces, there is no painter who painted only one painting and that was a masterpiece. You have to do a whole bunch of paintings to get to the place of mastering your craft.
I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.
People say to us, look, it may well be the case that there are fewer wars and fewer genocides, but surely more people are being killed. But when we look at this, the number of people killed in wars involving a state every year, all the wars, and you can see there's a high point, that's the Korean war, and it keeps on going down and down and down. If you look at the average number of people killed per conflict per year, it goes from 37-thousand in 1950 to just 600 in 2002.
In some ways painters have been more important in my life than writers. Painters teach you how to see—a faculty that usually isn’t highly developed in poets. Whether you take a walk in the woods with a painter, or go to a museum with one, through them you notice shapes, colors, harmonies, relationships that enhance your own seeing.
Historically, the women who have been the great painters of the canon have very often have been the wives or daughters of supportive men. Like Artemisia, whose father was a very established painter. I will say that the two current contemporary artists I admire the most are women: Kara Walker and Swoon.
I'm an old guy, and I was protesting during the Vietnam War. We killed fifty Asians for every loyal American. Every artist worth a damn in this country was terribly opposed to that war, finally, when it became evident what a fiasco and meaningless butchery it was. We formed sort of a laser beam of protest. Every painter, every writer, every stand-up comedian, every composer, every novelist, every poet aimed in the same direction. Afterwards, the power of this incredible new weapon dissipated.
Every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house.
The flesh had infinity in it. I must know every inch by touch yet every inch renewed its mystery the instant my hand moved on. Delightful endless futility.
Every good composition is above all a work of abstraction. All good painters know this. But the painter cannot dispense with subjects altogether without his work suffering impoverishment.
Generally, when I tell people I'm a painter, they ask me if I have a card: 'Yes, we'd like this room in this color.' I still might get cards that say 'Mark Bradford. Painter.'
A painter with prestige among painters is bound to be discovered sooner or later.
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