Painters From The United States

"For a brief time, roughly between 1912 and 1918, The Masses became the rallying center-as sometimes also a combination of circus, nursery, and boxing ring-for almost everything that was then alive and irreverent in American culture. In its pages you could find brilliant artists and cartoonists, like John Sloan, Stuart Davis, and Art Young; one of the best journalists in our history, John Reed (journalist), a writer full of an indignation against American injustice that was itself utterly American; a shrewd and caustic propagandist like Max Eastman; some gifted writers of fiction, like Sherwood Anderson; and one of the few serious theoretical minds American socialism has produced, William English Walling. All joined in a rumpus of revolt, tearing to shreds the genteel tradition that had been dominant in American culture, poking fun at moral prudishness and literary timidity, mocking the deceits of bourgeois individualism, and preaching a peculiarly uncomplicated version of the class struggle. There has never been, and probably never will again be, another radical magazine in the U. S. quite like The Masses, with its slapdash gathering of energy, youth, hope."

"I have nothing to teach you that will help you to make a living. [as art teacher, advising his students]"

"[on w:Diego Rivera:] ..the one artist on this continent who is in the class of the old masters."

"People who take things too literally don't get much of anything from my teaching. By never saying anything I mean, I say a great deal. I never mean anything I say under oath. I never mean exactly what I say. Not even this. You have to read between the words."

"[As a painting teacher] I'm not flirting, playing around. I'm serious about it.. .If you don't want to be serious about playing [at art], do something of no account. Go into banking. Buy collar buttons at five cents a dozen and sell them for five cents a piece."

"Life without labor is crime, and labor without art is brutality."

"In 1953, 'Life Magazine' featured the three painters and titled it Mystic Painters of the Northwest: 'Painters of our misty light, shimmering lines and symbolic forms.. ..They embody a mystical feeling toward life and the universe." The three painters took the title lightly but they were entitled to be called Mystics: [Mark] Tobey the more intellectual, Graves the poet and Anderson the extrovert. All studied Buddhism in depth and Tobey and Graves traveled the Orient.'"

"I have sought a unified world in my work and use a movable vortex to achieve it."

"Migrating from continent to continent like a restless bird in search of propitious seasons, casting his glance across all cultures, Mark Tobey was one of the few 20th century artists who was truly cosmopolitan and in fact trans-avant-garde. Besides being a pioneer of American abstraction, he was a scholar of oriental calligraphy and Renaissance tempera."

"Bahá'í [religion] provided Tobey with aesthetic as well as social and religious principles. He has often stated that there can be no break between nature, art, science, religion, and personal life.. .Few religions.. ..have given the concept of oneness such pointed emphasis, and few modern artists have dealt with it as explicitly as has Tobey."

"It is Fall. The leaves are being raked under the great elms darkening in the evening light. Slowly they become weighted with darkness. Across the river they are burning the grass on the Minnesota bluffs. Myriads of colored streamers reflect in the river blow.."

"We look at the mountain to see the painting, then we look at the painting to see the mountain."

"The root of all religions, from the Baha'i point of view, is based on the theory that man will gradually come to understand the unity of the world and the oneness of mankind. It teaches that all the prophets are one – that science and religion are the two great powers which must be balanced if man is to become mature. I feel my work has been influenced by these beliefs. I've tried to decentralize and interpenetrate so that all parts of a painting are of related value."

"White lines in movement symbolize a unifying idea which flows through the compartmented units of life bringing the consciousness of a larger relativity."

"At a time when experimentation expresses itself in all forms of life, search becomes the only valid expression of the spirit."

"The Cubists used the figure, but they broke it up.. .But there was escape, too, even in those days, for there was Whistler living in the grey mists with a faded orange moon. The nocturne transformed itself into dreamy rooms with Chopin's music creating a mood that softened the hard core of self.[quote from conversation with Seitz]"

"I have many ideas for lights. I will paint only lights at night. [on the twinkling city-lights]"

"England collapses, turns Chinese with English and American thoughts. Thousands of Chinese characters are turning and twisting; every door is a shop. The rickshaws jostle the vendors, their backs hung with incredible loads. The narrow streets are alive in a way that Broadway isn't alive. Here all is human, even the beasts of burden. The human energy spills itself in multiple forms, writhes, sweats and strains every muscle towards the day’s bowl of rice. The din is terrific."

"I am accused often of too much experimentation.. ..but what else should I do when all other factors of man are in the same condition. I thrust forward into space as science and the rest do."

"We have tried to fit man into abstraction, but he does not fit."

"My first lesson in relativity: ..we had a still life set-up to paint. Suddenly I saw that the pitcher was so big [his hands outside the shape of a pitcher, then close in] and the glass was so big. From that time on everything was all right. [Tobey is remembering his Saturday morning painting class]"

"Every artist's problem today is: What will we do with the human?"

"An artist must find his expression closely linked to his individual experience or else follow in the old grooves resulting in lifeless forms."

"Reality must be expressed by a physical symbol."

"Our ground today is not so much the national or the regional ground as it is the understanding of this single earth. The earth has been round for some time now, but not in man’s relation to man, nor in the understanding of the arts of each as a part of that roundness. As usual we have occupied ourselves too much with the outer, the objective, at the expense of the inner world wherein tie true roundness lies.. .America more than any other country is placed geographically to lead in this understanding., and if from past methods of behaviour she has constantly looked towards Europe, today she must assume her position, Janus-faced, toward Asia, for in not too long a time the waves of the Orient shall wash heavily upon her shores. All this is deeply related with her growth in the arts, particularly upon the Pacific slopes. Of this I am aware. Naturally my work will reflect such a condition and so it is not surprising to me when an Oriental responds to a painting of mine as well as an American or an European.."

"There has been 32 isms since the advent of Cubism, yet after all there are essentially the same two old strings, the Romantic and the Classical. We've just be confused by the storm. Science and psychology have played a great part to say nothing of sex."

"The important thing is that Clyff Still – you know his work? – and Rothko, and I – we’ve changed the nature of painting.. .I don’t mean there aren’t any other good painters. Bill [= Willem de Kooning ] is a good painter, but he’s a "French" painter. I told him so, the last time I saw him after his last show.. ..all those pictures in his last show start with an image."

"Among the best art museum experiences anywhere."

"We all feel a separateness; we wish that a drop of water would soften our ego; the world needs a common conscience: agreement.. ..we must concentrate outside ourselves."

"I do not want other artists to imitate my work – they do even when I tell them not to – but only [ imitate] my example for freedom and independence from all external, decadent and corrupting influences.."

"..the idea that an artist is nothing unless he accepts the total responsibility for everything that he does.. ..by making a responsible move that he makes a statement.. .You can make a picture out of truth."

"His work [of Clyfford Still] has a visceral impact, the paintings stare back at me and the viewer. I don’t know many other artists who induce quite the same kind of electric charge – a true frisson. Yet it’s not just this kind of high voltage drama that grabs me, what I also find remarkable is that Still managed to combine this intensity with a rare degree of subtlety and delicacy."

"As for 'taste' as a criterion of painting I find that it is most frequently applied to work that is essentially insensitive, brutal or vulgar beyond question. Could it now be a term with political undertones to seduce, or cover profounder motives of exploitation? I propose it be kept to the wine cellar. There it deceives no one but him who over-indulges."

"I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictures. I will probably go on doing so.. .Orchestral. My work in its entirety is like a symphony in which each painting has its part."

"I felt it necessary to evolve entirely new concepts (of form and space and paintings) and postulate them in an instrument that could continue to shake itself free from dialectical perversions. The dominant ones, Cubism and Expressionism, only reflected the attitudes of power or spiritual debasement of the individual."

"There were two, epic, landmarks in Still’s pictorial trajectory. The first is a painting known as '1944' – probably the first largest radical statement of tendencies that would later be hallmarked as Abstract expressionism. Even in Pollock and Rothko certainly there is nothing to match the precocity and extremism of this huge black field canvas.. .Perhaps Still’s second landmark painting is in Albright - Knox Art Gallery, Buffalo, known as '1957-D'. I choose this [for the show] because it’s in a public collection and has become one of the most iconic statements of Abstract expressionism."

"Now it seems to me that we are in a universalising period.. .If we are to have world peace, we should have an understanding of all the idioms of beauty because the members of humanity who have created these idioms of beauty are going to be a part of us. And I would say that we are in a period when we are discovering and becoming acquainted with these idioms for the first time."

"I am not interested in illustrating my time. A man’s 'time' limits him; it does not truly liberate him. Our age – it is of science – of mechanism – of power and death. I see no point in adding to its mammoth arrogance the compliment of graphic homage."

"..the light suggests no particular time of day or night [in the paintings of Paul Cézanne ]; it is not appropriated from morning or afternoon, sunlight or shadow."

"I held it imperative to evolve an instrument of thought which would aid in cutting through all cultural opiates, past and present, so that a direct, immediate, and truly free vision could be achieved, and an idea be revealed with clarity. To acquire such an instrument, however... demanded full resolution of the past, and present through it. No shouting about individualism, no capering before an expanse of canvas, no manipulation of academic conceits or technical fetishes can truly liberate.."

"The work itself, whether thought of as image of idea, as revelation, or as a manifest of meaning, could not have existed without a profound concern to achieve a purpose beyond vanity, ambition or remembrance, for a man’s term of life. Yet, while one looks at his works, a warning should be given, lest one forget, among the multitude of issues, the relation I bear to those with 'eyes'. Although the reference is in a different context and for another purpose, a metaphor is pertinent as William Blake set it down: THE Vision of Christ that thou dost see – Is my Vision’s Greatest Enemy: - Thine is the friend of All Mankind, - Mine speaks in parables to the Blind: 'Therefore, let no man under-value the implications of this work or its power for life; - or for death, if it is misused'."

"The observer usually will see what his fears and hopes and learning teach him to see. But if he can escape these demands that hold up a mirror to himself, then perhaps some of the implications of the work may be felt. But whatever is seen of felt it should be remembered that for me these paintings had to be something else. It is the price one has to pay for clarity when one’s means are honoured only as an instrument of seduction or assault."

""In The 1950's he [Clyfford Still] began to take a great dislike to all art critics. He specifically singled out w:Emily Genauer, the art critic for the New York Herald Tribune. He mailed Genaurer a pair of baby rubber pants tagged with the note Hoping this will help conceal your Sunday afflictions', yours sincerely, Clyfford Still. She kept them and eventually donated the rubber incontinence pants to the Archive of American Art. I’d love to see an artist do that to say a critic like Roberta Smith or Andrew Graham Dixon. It takes a heck of a lot of spunk to burn your bridges behind you in that intractable way. What Still effectively did by his example was to throw the money lenders out of the temple."

"We are now committed to an unqualified art, not illustrating outworn myths or contemporary alibis. One must accept total responsibility for what he executes. And the measure of his greatness will be in the depth of his insight and his courage in realizing his own vision."

"I am not an action painter. Each painting is an act. The result of action and the fulfillment of action.. .No painting stops with itself, is complete of itself. It is a continuation of previous paintings and is renewed in successive ones.."

"The best works are often those with the fewest and simplest elements.. ..until you look at them a little more, and things start to happen."

"[These are] not paintings in the usual sense, they are life and death merging in fearful union."

"On the third floor of Manning's Coffee Shop in the Farmer's Market in Seattle confronting the Sound, the windows are opaque with fog. Sitting here in the long deserted room, I feel suspended enveloped by a white silence. Two floors below, the farmers are bending over their long rows of fruit and vegetables; washing and arranging their produce under intense lights shaded by circular green shades. Above, where I sit, the world seems obliterated from all save memory; abstracted without the feeling of being divorced from one’s roots. My eye keeps focusing upon the opaque windows [an equivalent of the picture plane]. Suddenly the vision is disturbed by the shape of a gull floating silently across the width of the window, a line of movement drawn across the picture surface. Then space again. In opposing lines to the gull's flight, the Sound moves northward through the Inland Passage.. .It is true that trains run daily out of Seattle to points East and South, but my mind takes but little cognizance of this fact. To me Seattle seems pocketed. There is only one way out: Alaska, toward the North! Swerving to the South, there is the Orient, although in San Francisco I feel the Orient rolling in with its tides. My imagination, it would seem, has its own geography."

"Through them [his paintings] I breathe again."

"I have just had my first lesson in Chinese brush from my friend and artist Teng Kwei. The tree is no more solid in the earth, breaking into lesser solids in the earth, breaking into lesser solids bathed in chiaroscuro. There is pressure and release. Each movement, like tracks in the snow, is recorded and often loved for itself. The Great Dragon is breathing sky, thunder and shadow; wisdom and spirit vitalized. All is in motion now.. .One step backward into the past and the tree in front of my studio in Seattle is all rhythm, lifting, springing upward."