It was truly revealing. The strength of the intervention, the intensity of colors and the happiness of this work, has never left me. (1977, about the painting 'Piano lesson' of Matisse, Van Velde saw around 1925 for the first time, fh)
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article Schilder Bram van Velde in Dordrecht, by Paul Groot, newspaper NRC Handelsblad, 1979 (english translation: Charlotte Burgmans)Bram van Velde
» Bram van Velde - all quotes »
As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first.
Guity Novin
As I read your remarks about how Kosovo reverses the usual left/right roles on intervention, I found myself wondering what Noam Chomsky--who epitomized the left-wing view that all bad things are the result of Western intervention--is saying now. Well, I couldn't find anything about the current crisis, but thanks to the miracle of search engine technology I did find some remarks about Bosnia, which are pathetic but revealing: First he tries to blame it all on the Western Right, then suddenly gets all judicious and practical.
Noam Chomsky
I met Beckett at my brother’s place (the painter Geer van Velde, fh). That was a Big meeting, in capital letters. It was before war started, life was still normal. That time I was very lonely. We saw each other often. Before the war he had published already something, but his fame came in 1953. We never spoke about his work. He was a taciturn man. Sometimes a word escaped from his mouth. Sure, a word you would never forget. It would stick in your head.. ..This friendship with Beckett is the most important experience in my life. He was fully alive for my way of working. What he could express in words, I did with my paintings. (1977, about his contact with Beckett, in Paris before and during the War, fh)
Bram van Velde
If I were the type of artist that didn't care whether or not my works communicated with viewers then I wouldn't bother exhibiting them, I might as well stock them in a warehouse. But I do exhibit and I do care because I want to communicate back to the viewer what I've viewed. My paintings are inspired by my homeland's traditional spaces. My colors are the colors of monasteries and mosques, the color of ruins of Sassanid and Seljuq era, colors of Bazaars of Isfahan and Shiraz, and colors of northern-Iran's ceramics. I have sensed all these colors, forms and everything within my painting's frame from the viewer's own world.
Guity Novin
I don't think too much about the electronic thing, except that it's kind of fun to have it as an alternate voice. Like, I've used the Fender- Rhodes piano on a couple of records. I don't really look on it as a piano— merely an alternate keyboard instrument, that offers a certain kind of sound that’s appropriate sometimes. I find that it’s kind of a refreshing auxiliary to the piano— but I don't need it, you know. I guess it’s for other people to judge how effective it’s been on my records; I enjoyed it, anyway. I don't enjoy spending a lot of time with the electric piano. I mean, if I play it for a period of time, then I quickly tire of it, and I want to get back to the acoustic piano.
Bill Evans
van Velde, Bram
Van Vleck, John Hasbrouck
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