It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.
Mark RothkoRead
If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.
Interpretation
The quote emphasizes the importance of ancient myths as foundational symbols for conveying deep psychological concepts in art.
Mark Rothko suggests that the titles he chooses for his works are not arbitrary but rather rooted in the timeless myths and symbols of history. These myths serve as essential tools for artists to communicate complex psychological themes that resonate on a deeper level with human experience, making them relevant across generations.
In practice
In a discussion about the influence of mythology on modern art, this quote can illustrate how artists draw from historical symbols.
It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.
Look, it's my misery that I have to paint this kind of painting, it's your misery that you have to love it, and the price of the misery is thirteen hundred and fifty dollars.
We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.
The artist invites the spectator to take a journey within the realm of the canvas... Without taking the journey, the spectator has really missed the essential experience of the picture.
The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.
Art to me is an anecdote of the spirit, and the only means of making concrete the purpose of its varied quickness and stillness.
I'm a great audience. I cry very easily. I suspend disbelief in two seconds.
I don't design clothes, I design dreams.
But my way of writing is rather to think aloud, and follow my own humours, than much to consider who is listening to me; and, if I stop to consider what is proper to be said to this or that person, I shall soon come to doubt whether any part at all is proper.
Language is the most massive and inclusive art we know, a mountainous and anonymous work of unconscious generations.
Architecture is one of the art forms best able to improve and revitalise cities both artistically and functionally.
A scientist worthy of his name, about all a mathematician, experiences in his work the same impression as an artist; his pleasure is as great and of the same nature.
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