artists-from-pittsburgh

"It is not by accident that I have chosen to be a religious painter…I paint the things I see and believe."

"I am simply M. Tanner, an American artist. Nobody knows or cares what was the complexion of my forebears. I live and work there in terms of absolute social equality."

"No, father, you preach from the pulpit and I will preach with my brush."

"It is absolutely necessary, while what I saw yesterday at Miss Cassatt's is still fresh in mind, to tell you [Lucien, his son] about the colored engravings she is to show at Durand-Ruel's at the same time as I. We open Saturday.. .You remember the effects you strove for at Eragny? Well, Miss Cassatt has realized just such effects, and admirably: the tone even, subtle, delicate, without stains on seams: adorable blues, fresh rose, etc."

"this fantastic work called Young Mother Sewing by Mary Cassatt."

"..Mary Cassatt, sister of Mr. Cassatt, President of the Pennsylvania Railroad, who has been studying painting in France and owns the smallest Pekingese dog in the world."

"..crushed by the strength of this Art [the old Egyptian art].. .I fought against it but it conquered, it is surely the greatest Art the past has left us.. ..how are my feeble hands to ever paint the effect on me."

"If you [[w:Ambroise Vollard|[Vollard] ]] should ever happen to find that picture ['Milliners's workshop'] by Edgar Degas I know an American who will pay any price for it."

"..we [the Impressionists ] are carrying on a despairing fight & need all our forces."

"I used to go and flatten my nose against that window and absorb all I could of his [Degas'] art. It changed my life. I saw art then as I wanted to see it."

"I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where."

"She [Mary Cassatt] has infinite talent. I remember the time we started a little magazine called 'Le Jour et La Nuit' together. I was very much interested in processes then, and had made countless experiments [in printing; Degas mainly mono-type - Mary Cassatt mainly etchings].. .You can get extraordinary results with copper; but the trouble is that there are never enough buyers to encourage you to go on with it."

"M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves.. ..and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing."

"O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again."

"In Bochner’s work, perception constantly trumps idea, reaffirming the artist’s belief that the sensuous is an essential element in even the most conceptual art."

"For my generation, Judd posed the same problem as Picasso did for the Abstract Expressionists; you either had to go over, under, around, or through him. Conceptual, process, and Earth Art, each in their own way, constituted a rejection of the ‘specific object'."

"I am not immersed in self-admiration. When I am listening to Vivaldi or Japanese music or making spaghetti at three in the morning and realize that I don’t have the proper sauce for it, fame is of no use. The other way to put it is that I don’t have a talent for narcissism. Or, to put it yet another way, the mirror is not my best friend."

"I didn’t try to communicate any kind of philosophy since I am not a philosopher. I am a photographer. That’s it."

"I don’t need to belittle the work of present day photography. I see quite often things that I like and admire. I do digital photography myself. Certain people of my generation decided that the past was better than the present. I am not sure that that is true. I don’t want to be one of those people that says the world has come to an end."

"I don’t plan things. As a rule I prefer to see what happens."

"I didn’t photograph people as an example of New York urban something or other. I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities."

"I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing."

"I never felt the need to do what everyone else did. And I wasn’t troubled by the fact that other people were doing other things."

"I really don’t think I was influenced by anyone. I think I will leave it up to someone else to determine who influenced me. I admired a tremendous number of photographers, but for some reason I arrived at a point of view of my own."

"In order to build a career and to be successful, one has to be determined. One has to be ambitious. I much prefer to drink coffee, listen to music and to paint when I feel like it."

"I must admit that I am not a member of the ugly school. I have a great regard for certain notions of beauty even though to some it is an old fashioned idea. Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness."

"Leiter’s sensibility . . . placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances."

"This artist is not afraid to paint at the top of his lungs. Beck's handling of pigment is professional, but everywhere subordinated to the themes he's painting. Its chalky flatness works almost as if he's stressing the fact that his painting is no Frenchified thing, but real American art."

"The elegant simplifications of the human form, picked out with Beck's layered color, is reminiscent of the 19th-century Munich school, a style conceived to ennoble the human form and the very atmosphere it walks through. Beck crosses this up with his ugly folks and perverse demi-narratives. It is just the unpredictability of beauty and disgust mixing that arrests the viewer -- and sometimes makes him or her mad as a wet hen."

"Mr. Beck says he once heard a visitor to one of his shows characterize the work as ‘Norman Rockwell gone bad.’ That sums up his territory: Mr. Beck seems determined to take America's pulse at the end of the century, and it races. Mr. Beck's sturdily built characters tend to smile a lot, but it's obvious that the smiles mask anxieties."

"Beck's complex figure compositions bring baroque spatial dynamics into the back yards of America. His individuals are either unhappily sexualized or awkwardly self aware, or both. They strain under the demands of pleasure, always terrified that they will reveal some forbidden part of their private psyches."

"Today it's possible to paint one canvas with the calmness of an ancient Greek and the next with the anxiety of a Van Gogh. Either of these emotions, and any in between, is valid to me.. .I work on many canvasses at once. In the morning I line them up against the wall of my studio. Some speak, some do not. They are my mirrors. They tell me what I am like at that moment."

"I hung Baziote's [painting] show with him at Peggy's in 1944. After it was up and we had stood in silence looking at it for a while, I noticed he had turned white. Suddenly he [Baziotes] looked at me and said: 'You're the one I trust; if you tell me the show is no good, I'll take it right down and cancel it.'. You see, at the opposite side of the coin of the abstract expressionist's ambition and of out not giving a damn, was also not knowing whether our pictures were even pictures, let alone whether they were any good.."

"Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours [Adolph Gottlieb's] from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings. At that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently.. .However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things."

"I saw a Dubuffet show at Pierre Matisse's art gallery in the late forties and came back with a new vocabulary. Also when Baziotes won the Carnegie (1948) there was a reproduction in 'The Times'. I remember bringing it to class. It was source of bewilderment, delineated configurations that seemed to come out of Cubism. It was something new. Those were the tastes of a whole dimension that was to come.."

"In 1942-43 Motherwell and Baziotes felt an absorbing interest in automatism, propagandized by Matta, as a source of new forms and new truths in art. Baziotes' contacts with Surrealism at this time are essential to his subsequent development; in 1942 he exhibited in Andre Breton's 'First Papers of Surrealism' [show] at the Whitelaw Reid Mansion, and in 1944 he [Baziotes] held his first one man exhibition at Peggy Guggenheim's 'Art of This Century.' which was a junction of expatriate European Surrealists and younger American artists [ Pollock showed there too]."

"Baziotes is unique in that the spatial organization of the whole painting implies a dense medium, like water, as well as evoking reminiscences of particular organisms. This kind of space becomes scenically expansive in 1952. developing after paintings of 1950 in which marine life is one term in an ambiguous image. Examples of this phase are 'Dying Bird' and 'Flight', in which bird forms are generalized to the point at which they imply a seal or a slug...Baziotes' color is as bland and shifting as light in topaz or opal, converting the motion of the sea to a Medusan calm. His art paradoxically evokes both the amniotic waters and the impassivity of the mineral world."

"One can begin a picture and carry it through and stop it and do nothing about the title at all."

"I can not evolve any concrete theory about painting. What happens on the canvas is unpredictable and surprising to me."

"One hundred artists introduce us to one hundred worlds."

"I think the reason we [Baziotes himself and Richard Lippold ] begin in a different way, is that this particular time has gotten to a point where the artist feels like a gambler. He does something on the canvas and takes a chance in the hope that something important will be revealed."

"Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association."

"We are getting mixed up with the French tradition. In talking about the necessity to 'finish' a thing, we then said American painters 'finish' a thing that looks 'unfinished', and the French, they 'finish' it. I have seen Henri Matisse's that were more 'unfinished' and yet more 'finished' than any American painters. Matisse was obviously in a terrific emotion at the time and he was more 'unfinished' than 'finished'."

"I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished."

"In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings."

"The emphasis on flora, fauna, and beings makes the exhibit a most intriguing and artistic one for it brings forth those strange memories and psychic feelings that mystify and fascinate all of us. [his remark in 1957]"

"My whole intention in painting is to make a thing poetical; but not poetical in a literary sense. I want something that evokes mood, a background, a stage set for certain characters that are playing certain parts. When I paint I do not consider myself an abstractionist in the sense that I'm trying to create beautiful forms that fit together like a puzzle. The things in my painting are intended to strike something that is an emotional involvement – that has to do with the human personality and all the mysteries of life, not simply colors or abstract balances. To me, it's all reality."

"Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty."

"The large gray spiked form rising from the bottom of the picture is to me the symbol of death and ruin. And finally the black ovoid form is the symbol of fire, lava and destruction."

"Its decadence, satiety, and languor [of Roman civilization] interested me. And I kept looking and returning to their wall paintings with their veiled melancholy and their elegant plasticity. I admired the way they used their geology in their art — the sense of mineral, clay. rock, marble, and stone."