There was a whole language that I could never make function for myself in relationship to painting, and that was attitudes like tortured, struggle, pain.
Robert RauschenbergRead
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There was a whole language that I could never make function for myself in relationship to painting, and that was attitudes like tortured, struggle, pain.
life's kind of like a painting. A really bizarre, abstract painting. You could look at it and think that all it is, is a blur. And you could continue living your life thinking that all it is, is just a blur. But if you really look at it, really see it, focus on it, and use your imagination, life can become so much more. The painting could be of the sea, the sky, people,buildings, a butterfly on a flower, or anything except the blur you were once convinced it was.
I am more a friend of art than a producer of painting.
My paintings are not about what is seen. They are about what is known forever in the mind.
I do not repudiate any of my paintings but there isn't one of them that I would not redo differently, if I had it to redo. My destination is always the same but I work out a different route to get there.
I have never heard a dancer asking for advice about how to stay focused on her footwork, or a painter complaining about the dull day-to-day task of painting. What task worth doing isn't worth daily effort? Do you think Michelangelo was having fun the whole time he was on his back painting the Sistine Chapel's ceiling?
A building is akin to dogma; it is insolent, like dogma. Whether or no it is permanent, it claims permanence, like a dogma. People ask why we have no typical architecture of the modern world, like impressionism in painting. Surely it is obviously because we have not enough dogmas; we cannot bear to see anything in the sky that is solid and enduring, anything in the sky that does not change like the clouds of the sky.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
Painting is neither decorative amusement, nor the plastic invention of felt reality; it must be every time: invention, discovery, revelation.
I haven't stopped painting or drawing - I've just added another medium.
For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
Painting is not made to decorate apartments. It's an offensive and defensive weapon against the enemy. (about Guernica).
You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.
A painting to me is primarily a verb, not a noun, an event first and only secondarily an image.
Everyone wants to understand art. Why don't we try to understand the song of a bird? Why do we love the night, the flowers, everything around us, without trying to understand them? But in the case of a painting, people think they have to understand.
Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.
When I stand before a canvas, I never know what I'll do, and I am the first one surprised at what comes out.
The painting rises from the brushstrokes as a poem rises from the words. The meaning comes later.
I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
I have always believed that art should be a deep pleasure...ther e is always, everywhere, an enormous amount of suffering. But I believe my duty as an artist is to overcome and alleviate the sterility of despair...New ways of seeing mean new ways of feeling... I do believe that painting can change the world.
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