Painters From The United States

"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."

"There is always an unconscious collaboration among artists.. ..the artist who imagine himself a Robinson Crusoe is either a primitive or a fool."

"Contact with other artists has always been of great importance to me. When the artists I know best used to meet.. ..the talk was mostly of ideas in painting. There was an unconscious collaboration between artists. Whether you agreed or disagreed was of no consequence. It was exciting and you were compelled to paint over your head... .If your painting was criticized adversely, you either imitated someone to give it importance, or you simply suffered and painted harder to make your feelings on canvas convincing.. .What does happen when artists meet is that we are able to see more clearly the unfolding of character as time goes on."

"As for the subject matter in my painting...it is very often an incidental thing in the background, elusive and unclear, that really stirred me."

"The eye seems to be responding to something living."

"I think when a man first discovers that two and two is four, there is 'beauty' in that; and we can see why. But if people stand and look at the moon and one says 'I think it's just beautiful tonight' and the other says 'The moon makes me feel awful' we are both 'clear'. A geometric shape – we know why we like it; and an unreasonable shape; it has a certain mystery that we recognize as real; but it is difficult to put these things in an objective way."

"Let the poet dream his dreams. Yet, the poet must look at the world; must enter into other men's lives; must look at the earth and the sky, must examine the dust in the street; must walk through the world and his mirror."

"To be inspired. That is the thing. to be possessed; to be bewitched. To be obsessed. That is the thing. To be inspired."

"Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors.. .Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself."

"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."

"..because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by Jasper Johns] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting?] was just like printing except it was made by hand by him. That doesn’t add a thing to it. – it’s just the idea of imitating the beer can that is important."

"The thing that struck me most was the way he stuck to the motif [in the Flags and Targets painting by Jasper Johns].. ..the idea of stripes – the rhythm and the interval – the idea of repetition. I began to think a lot about repetition. [quote in 1960’s]"

"To be an artist you have to give up everything, including the desire to be a good artist."

"Everybody is of course free to interpret the work in his own way. I think seeing a picture is one thing and interpreting it is another."

"I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me.. .Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company.. .I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas. John [Cage] was very interested in presenting his ideas to other people, so it was impossible to be around and not to learn.. .He could apply his ideas on space and time to painting, or music or architecture.. .I don't have a clear sense of cause and effect in my painting, but it is probably there."

"I don't want my work to be an exposure of my feelings."

"The animal I wanted Couldn't get into the world... I can hear it crying When I sit like this away from life."

"As we are so wonderfully done with each other We can walk into our separate sleep on floors of music where the milkwhite cloak of childhood lies"

"Your lips have splashed my dull house with print of flowers My hands are crooked where they spilled over your dear curving"

"To leave the earth was my wish, and no will stayed my rising. Early, before sun had filled the roads with carts Conveying folk to weddings and to murders; Before men left their selves of sleep, to wander In the dark of the world like whipped beasts."

"My painting represents the victory of the forces of darkness and peace over the powers of light and evil. [1957, reacting on a remark of Picasso ]"

"The one thing to say about art and life is that art is art and life is life, that art is not life and life is not art. A 'slice-of-life' art is no better or worse than a 'slice-of-art' life. Fine art is not a 'means of making a living' or a 'way of living a life', and a artist who dedicates his life to his art or his art to his life burdens his art with his life and his life with his art. Art that is a matter of life and death is neither fine nor free."

"The one place for art-as-art is the museum of fine art. The reason of the museum or fine art is the preservation of ancient and modern art that cannot be made again and that does not have to be done again. A museum of fine art should exclude everything but fine art, and be separate of museums of ethnology, geology, archaeology, history.. .Any disturbance of a true museum's soundlessness, timelessness, airlessness, and lifelessness is a disrespect."

"The one question, the one principle, the one crisis in art of the twentieth century centers in the uncompromising 'purity' of art, and in the consciousness that art comes from art only, not from anything else."

"The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more, making it purer and emptier, more absolute and exclusive – non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective. The only and one way to say what abstract art or art-as-art is, is to say what it is not."

"Who said last, 'A cleaner New York-school is Up To You?'"

"There is nothing there. What you see is not what you see. What you see is nothing. Nothing but shapes, lines, colors. What you see is whats in your mind. What you see is something somebody told you to look for. Look out for anything you see! Watch it! Watch out! Take care! Don’t leap before you look out."

"The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else. Art as art is nothing but art. Art is not what is not art."

"Voyaging into the night, one knows exactly where, on a known vessel, an absolute harmony with the elements of the unreal. [1959, reacting on a remark of Robert Motherwell ]"

"'Study the old masters. Look at nature. Watch out for armpits'. [in 1956, Reinhardt is quoting Paul Cézanne here freely]"

"And today many artists like myself refuse to be involved in some ideas. In painting – for me – no fooling-the-eye, no window-hole-in-the wall, no illusions, no representations, no associations, no distortions, no paint-caricaturing, no dream pictures of dripping, no delirium trimmings, no sadism or slashing, no therapy, no kicking-the-effigy, no clowning, no acrobatics, no heroics, no self-pity, no guilt.. ..no abstraction of everything, no nonsense, no involvements, no confusing painting with everything that is no painting."

"It’s been said many times in world art writing that one can find some of painting’s meaning by looking not only at what painters do, but what they refuse to do."

"An abstract painting will react to you if you react to it. You get from it what you bring to it. It will meet you half way but no further. It is alive if you are. It represents something and so do you. YOU, SIR, ARE A SPACE, TOO."

"What greater challenge today.. ..to disorder and insensitivity; what greater propaganda for integration than this emotionally intense, dramatic division of space? (quote in 1943, discussing the art of Piet Mondrian)"

"O my love my dear lady The world is not very big There is only room for our wonder And the light leaning winds of heaven Are not more sweet or pure Than your mouth on my throat O my love there are larks in our morning And the finding flame of your hands And the moss on the bank of the river And the butterflies And the whirling-mad Butterflies!"