A Quote by Robert Motherwell
Every intelligent painter carries the whole culture of modern painting in his head. It is his real subject, of which everything he paints in both an homage and a critique, and everything he says is a gloss.
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A Christian is one who points at Christ and says, 'I can't prove a thing, but there's something about his eyes and his voice. There's something about the way he carries his head, his hands, the way he carries his cross-the way he carries me.'
I love the ground under his feet, and the air over his head, and everything he touches and every word he says. I love all his looks, and all his actions and him entirely and all together.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
The portrait painter... If he insults his sitters his occupation is gone. Whether he paints the should instead of the features, or the latter with all its natural blemishes, he is as presumptuous as if he shouted, 'What a face. Hide it.' which would never do, although it is analogous to what landscape painters are doing every day.
When a painter is working he is aware of the means which are available to him - these include his materials, the style he inherits, the conventions he must obey, his prescribed or freely chosen subject matter - as constituting both an opportunity and a restraint.
Creation rather than painting, or if painting, yet such, and with such co-presence of the whole picture flash'd at once upon the eye, as the sun paints in a camera obscura. (Describing his poetic ideal, 1817)
Art is something given, not reproduced... the painter paints what he sees with his innermost senses, the expression of his being... for him every other impression becomes an inner expression.
When a sculptor creates a sculpture, a writer writes a novel, or a painter paints a motif on a canvas, he needs talent and expertise. But to be successful in his endeavor, he also needs to have the passionate feeling that he wants, at all costs, to create a work of art which, in his head, constantly demands to be accomplished. The same also applies to developing board games or card games.
The chief consideration for a good painter is to think out the whole of his picture, to have it in his head as a whole... so that he may then execute it with warmth and as if the entire thing were done at the same time.
It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell ... Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.
A humble person is not one who thinks little of himself, hangs his head and says, "I'm nothing." Rather, he is one who depends wholly on the Lord for everything, in every circumstance.
Even the greatest fool can accomplish a task if it be after his heart. But the intelligent man is he who can convert every work into one that suits his taste. No work is petty. Everything in this world is like a banyan seed, which, though appearing tiny as a mustard seed, has yet the gigantic banyan tree latent with it. He indeed is intelligent who notices this and succeeds in making all work truly great.
Writing plays supplied for me everything that painting didn't, which is the ability to tell stories in real time, in a real space, in three dimensions, in flesh and blood. I realized I had been trying to cram all this narrative into my paintings, but ultimately painting was a static medium. So it just opened up this whole new door.
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