An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
I really had no program or any established plan. I didn't even ask myself if I should sell my paintings or not.
Interpretation
This quote reflects the spontaneity and lack of strict planning in the creative process.
Marcel Duchamp emphasizes the idea that creativity often flourishes without rigid structure or predefined intentions. By expressing his lack of a program or established plan, he suggests that art can thrive in an environment where freedom and instinct guide the artist, rather than commercial considerations or societal expectations dictating the outcome.
In practice
In a speech about artistic freedom, one might say, 'As Marcel Duchamp noted, I really had no program or any established plan.'
An abstract painting need in 50 years by no means look "abstract" any longer.
All this twaddle, the existence of God, atheism, determinism, liberation, societies, death, etc., are pieces of a chess game called language, and they are amusing only if one does not preoccupy oneself with 'winning or losing this game of chess.
I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.
I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.
It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.
I became a librarian at the Sainte-Genevieve Library in Paris. I made this gesture to rid myself of a certain milieu, a certain attitude, to have a clean conscience, but also to make a living. I was twenty-five. I had been told that one must make a living, and I believed it.
It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work.
Poetry is not Irish or any other nationality; and when writers such as Messrs. Clarke, Farren and the late F. R. Higgins pursue Irishness as a poetic end, they are merely exploiting incidental local colour.
Eloquence is a painting of the thoughts.
Like dancers with choreography or actors with scripts, jazz singers could take material that was known, even loved, then risk interpreting and revising it. They could conceal even as they revealed themselves. Inflection, timing and tonality were their language, at least as much as words.
In beauty of face no maiden ever equaled her. It was the radiance of an opium-dream - an airy and spirit-lifting vision more wildly divine than the fantasies which hovered about the slumbering souls of the daughters of Delos.
The worst evil which can befall the artist is that his work should appear good in his own eyes.
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