A Quote by Thomas Eakins
When you first commence painting everything is a muddle. Even the commonest colors seem to have the devil in them.
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In 1978, the first flag was organic everything. It did have eight colors: the six colors of the rainbow we see today plus hot pink and turquoise. But pretty quickly on I realized that I would never be able to satisfy the demand for them by hand-dying fabric and these colors.
It takes more time to rework a painting than it takes to fill in the canvas in the first place. I wish I could get them all right with the first coat like many of the old masters could, but seem destined to have to rework to make them even passable.
In 1915 Sophie Tauber and I carried out our first works in the simplest forms, using painting, embroidery and pasted paper (without using oil colors to avoid any reference with usual painting). These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous.
In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
I look at the textures, surfaces, colors, and the individual objects in the painting. And then I wonder: what are the relationships among them? Those relationships are everything.
Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
Every scene, even the commonest, is wonderful, if only one can detach oneself, casting off all memory of use and custom, and behold it (as it were) for the first time; in its right, authentic colors; without making comparisons. Cherish and burnish this faculty of seeing crudely, simply, artlessly, ignorantly; of seeing like a baby or a lunatic, who lives each moment by itself and tarnishes by the present no remembrance of the past.
I do not plan any painting, but begin with layers of textures and colors. As I layer the colors, something is suggested to me from within, and that is how it evolves.
The rainbow is a part of nature, and you have to be in the right place to see it. It's beautiful, all of the colors, even the colors you can't see. That really fit us as a people because we are all of the colors. Our sexuality is all of the colors. We are all the genders, races, and ages.
The British are proud of their ability to create a muddle and then muddle through all difficulties. I must shake the British pride: muddle is not an exclusively British institution. Read descriptions, for instance, of the over-organized, wonderfully systematic and "thorough" German war machine during the last war.
Whereas formerly, before the advent of machinery, the commonest article you could pick up had a life and warmth which gave it individual interest, now everything is turned out to such a perfection of deadness that one is driven to pick up and collect, in sheer desperation, the commonest rubbish still surviving from the earlier periods.
Every scene, even the commonest, is wonderful, if only one can detach oneself, casting off all memory of use and custom and behold it, as it were, for the first time.
Painting, like music, has nothing to do with the reproduction of nature, nor interpretation of intellectual meanings. Whoever is able to feel the beauty of colors and forms has understood nonobjective painting.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or tree. It is lines and colors put together so that they may say something.
People want to know those details. They think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist’s work and their own ability to experience it. Each painting I do says everything I want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. Frankly, as far as I’m concerned, even titling a work is an unnecessary concession.
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