All Quotes

"I was surprised as anyone when T-shirts, jeans and leather jackets suddenly became symbols of rebellion. In the film there was a scene in which somebody asked my character, Johnny, what I was rebelling against, and I answered 'Whaddya got?' But none of us involved in the picture ever imagined that it would instigate or encourage youthful rebellion."

"On the day Kazan showed me the completed picture I was so depressed by my performance that I got up and left the screening room."

"The power and influence of a movie star is curious: I didn't ask for it or take it; people gave it to me. Simply because you're a movie star, people empower you with special rights and privileges."

"I don't think I was constructed to be monogamous. I don't think it's the nature of any man to be monogamous. Men are propelled by genetically ordained impulses over which they have no control to distribute their seed."

"There's a line in the picture where he snarls, "Nobody tells me what to do." That's exactly how I've felt all my life."

"In the revolution, Mrs. Adams said to her husband, “It seems to me that while you are struggling for your own liberty, you are not applying the principle universally” — the women and the slaves had been left out. The principle was not applied then, and has not been applied since."

"Paris is a very graceful and beautiful city, almost too formal and sweet to the taste after the raw disorder of New York. Everything seems to have been planned with the purpose of forming a most harmonious whole, which certainly has been done.. .Every street here is alive with all sorts of conditions of people, priests, nuns, students, and always the little soldiers with wide red pants."

"The people here in fact seem to live in the streets, which are alive from morning until night, not as they are in New York with that never-ending determination for the 'long-green', but with a pleasure-loving crowd that doesn’t care what it does or where it goes, so that it has a good time."

"I do not believe there is another city on earth so beautiful as Paris, nor another people with such an appreciation of the beautiful as the French."

"Everyone goes to the 'Grands-Boulevards' and let himself loose.. .Do not picture these in costume, they are not for the most part.. ..perhaps a clown with a big nose, or two girls with bare necks and short skirts.. ..the parade of the queens of the halls [Paris’ markets] is also one of the events.. ..Some are pretty but look awkward in their silk dresses and crowns, particularly as the broad sun displays their defects – perhaps a neck too thin or a painted face which shows ghastly white in the sunlight."

"The killing of the horses [a bullfight in Madrid, he visited in June 1910] by the bull is very horrible, much more so as they have no chance to escape and are ridden up to the bull to be butchered.. ..the entry of the bull into the ring however is very beautiful; his surprise and the first charges he makes are very pretty."

"It seemed awful crude and raw here when I got back [after his return from his third and last trip to Europe, in 1910]. It took me ten years to get over Europe."

"The idea [for his painting 'Room in New York', he painted in 1932] had been in my mind a long time before I painted it. It was suggested by glimpses of lighted interiors seen as I walked along city streets at night, probably near the district where I live [Washington Square, New York] although it’s no particular street or house, but is really a synthesis of many impressions."

"The domination of France in the plastic arts has been almost complete for the last thirty years or more in this country [America]. If an apprenticeship to a master has been necessary, I think we have served it. Any further relation of such a character can only mean humiliation to us. After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface."

"It is true that the Impressionists perhaps gave a more faithful representation of nature through their discoveries in out-of-door painting. But that they increased their statute as artists by so doing is controversial.. .If the technical innovations of the Impressionists led merely to a more accurate representation of nature, it was perhaps of not much value in enlarging their powers of expression."

"There may come, or perhaps has come, a time when no further progress in truthful representation is possible. There are those who say that such a point has been reached, an attempt to substitute a more and more simplified and decorative calligraphy. This direction is sterile and without hope to those who wish to give painting a richer and more human meaning and a wider scope. No one can correctly forecast the direction that painting will take in the next few years, but to me at least there seems to be a revulsion against the invention of arbitrary and stylized design."

"There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactions."

"Originality is neither a matter of inventiveness nor method, it is the essence of personality."

"I do not know why I chose one subject rather than another unless I believe them to be the best synthesis of my inner experience."

"It is hard for me to know what to paint. It comes slowly."

"It takes a long time for an idea to strike."

"The whole answer is there on the canvas."

"The man's the work. Something does not come out of nothing."

"All I ever wanted to do is to paint sunlight on the side of a wall."

"The only quality that endures in art is a personal vision of the world. Methods are transient: personality is enduring."

"I wish I could paint more.. .I do dozens of sketches for oils.. ..if I do one that interests me I go on to make a painting but that happens only two or three times a year."

"I could just go a few steps [from the house where he stayed in Paris in 1906- 1907] and I'd see the Louvre across the river. From the corner of the Rue de Bac and Lille (sic) you could see Sacré-Coeur. It hung like a great vision in the air above the city."

"The only real influence I have had was myself."

"Recognition does not mean so much, you never get it when you need it."

"I am after ME [his response on the question what he was after, in his sober painting in 1963 'Sun in an empty room'."

"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the intellect for a pristine imaginative conception. The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form, and design. The term "life" as used in art is something not to be held in contempt, for it implies all of existence, and the province of art is to react to it and not to shun it. Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."

"Partly through choice, I was never willing to hire out more than three days a week [making illustrations for the magazines to support himself, c. 1912] I kept some time to do my own work. Illustrating was a depressing experience. And I didn't get very good prices because I didn't often do what they wanted."

"After I took up etchings [c. 1915], my paintings seemed to crystallize."

"It is a woman looking out to see if the weather is good enough to hang out her wash."

"Did I say that? You're making it Norman Rockwell. From my point of view she's just looking out the window, just looking out the window."

"Just to paint a representation or design is not hard, but to express a thought in painting is. Thought is fluid. What you put on canvas is concrete, and it tends to direct the thought. The more you punt on canvas the more you lose control of the thought. I’ve never been able to paint what I set out to paint."

"They are in a high key, somewhat like impressionism or a modified impressionism. I think I'm still an impressionist."

"Well, I have a very simple method of painting. It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method. It's very simple.. .Yes, linseed oil. I used to use poppy oil, but I have heard that poppy oil is given to cracking pigment too, so I use it no longer.. .I find linseed oil and white lead the most satisfactory mediums."

"[about his painting 'Approaching a CityWell' Hopper painted in 1946:] I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics. There is a certain fear and anxiety and a great visual interest in the things that one sees coming into a great city. I think that's about all I can say about it."

"Though I studied with Robert Henri, I was never a member of the Ash-Can School. You see, it had a sociological trend which didn't interest me. [Hopper then proceeded to inform Kuh that his work contained no social content whatsoever!]"

"It's probably a reflection of my own, if I may say, loneliness. I don't know. It could be the whole human condition."

"Ninety percent of them [artists in general] are forgotten ten minutes after they’re dead."

"In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty."

"To me the most important thing is the sense of going on. You know how beautiful things are when you're traveling."

"Sloan [American colleague artist who started his art by making etchings, c. 1920] not having been abroad [in contrary to Hopper himself], has seen these things with a truer and fresher eye than most..The hard early training has given to Sloan a facility and a power of invention that the pure painter seldom achieves."

"At Gloucester [village at the sea where Hopper with his wife Jo had married and stayed during the summer of 1924] when everyone else would be painting ships and the waterfront I'd just go around looking at houses (watercolor: 'Haskell's house', 1924). It is a solid looking town. The roofs are very bold, the cornices bolder. The dormers cast very positive shadows. The sea captain influence I guess – the boldness of ships."

"[on the question 'Why selecting certain subjects over others':] I do not exactly know, unless it is that I believe them [his chosen subjects] to be the best mediums for a synthesis of my inner experience."

"The element of silence that seems to pervade every one of his [Hopper’s] major works.. ..can almost be deadly, as in [his] 'Room in New York' [painted in 1932].."

"I got over there [to show her watercolors in the Brooklyn Museum, in Fall of 1913] and they liked the stuff and I started writing and talking about Edward Hopper, my neighbor [the museum accepted six of him for the exhibition where they hung next to Jo's [Hopper's wife] watercolors]) .. ..they knew him as an etcher, but they didn't know he did watercolors.. ..he carried my stuff when the time came.. ..didn't have me hauling them through the subway – what a sorry sight I'd have made."

"They gave themselves up wholly to their sorrow, seeking increase of wretchedness in every reflection that could afford it, and resolved against ever admitting consolation in future."