You don’t paint the way someone, by observing his life, thinks you have to paint, you paint the way you have to in order to give. That’s life itself, and someone will look and say it is the product of knowing, but it has nothing to do with knowing, it has to do with giving. The question about knowing will naturally be wrong. When you’ve finished giving, the look surprises you (yourself, fh) as anyone else. Some painters talking about painting are like a lot of kids dancing at a prom. An hour later you are too shy to get out on the floor.
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Evergreen Review, vol. II, (no 6) autumn 1958, p. 11-15Franz Kline
I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the lager picture, you are in it. It isn’t something you command.
Mark Rothko
I don’t like that word 'finish'. When something is finished, that means it’s dead, doesn’t it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it’s something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I’m working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.(1947)
Arshile Gorky
A dripping wet canvas covered the entire floor... There was complete silence... Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter... My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said "This is it."
Jackson Pollock
There is imagery. Symbolism is a difficult idea. I’m not a symbolist. In other words, these are painting experiences. I don’t decide in advance that am going to paint a definite experience, but in the act of painting, it becomes a genuine experience for me. It’s not symbolism any more than it’s calligraphy. I’m not painting bridge constructions, skyscrapers or laundry tickets.. ..I don’t paint a given object – a figure or a table; I paint an organization that becomes a painting.. ..it’s not these things that get me started on a painting.. (1958)
Franz Kline
The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kind of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.
Willem de Kooning
Kline, Franz
Kline, Kevin
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