He (Jasper Johns, fh) and I were each other’s first serious critics. Actually he was the first painter I ever shared ideas with, or had discussions with about painting. No, not the first. Cy Twombly was the first. But Cy and I were not critical. I did my work and he did his. Cy’s direction was always so personal that you could only discuss it after the fact. But Jasper and I literally traded ideas. He would say, ‘I’ve got a terrific idea for you, ‘ and then I’d have to find one for him. (remark on his cooperative relation with Jasper Johns, to his biographer Calvin Tomkins)
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Lives of the great twentieth century artists, Edward Lucie-Smith, London,1986. p. 31Robert Rauschenberg
» Robert Rauschenberg - all quotes »
(we gave) permission to do what we wanted.. .. It would be hard to imagine my work at that time (around 1956 – 1960, fh) without his (Jasper Johns, fh) encouragement.
Robert Rauschenberg
It was my sensual excessiveness that jarred him (Jasper Johns, fh). He was always an intellectual. He read a lot, he wrote poetry – he would read Hart Crane’s poems to me, which I loved but didn’t have the patience to read myself – and he was often critical of things like my grammar. But you don’t let a thing like that bother you if you have only two or three real friends.
Robert Rauschenberg
It's not very fashionable nowadays to have a philosophy that demands a lot of life. I tend to be drawn to people who are emotional - now they'd be called 'crazy'. Pollock, Jasper Johns, Toulouse-Lautrec. People said, 'They're off their nut!' Was Faulkner off his nut because he stayed in his house for eight months at a time writing books, and then you'd find him drunk up in a tree, making out with some old black woman? I think that's f**kin' great!
Ryan Adams
Now let acknowledge the fact that to explain the meaning of painting is difficult. And when the form and the content are really new, there is not even a vocabulary with which to attempt to explain the new work. This is a problem for critics and a difficult problem. I think it is about time for the critics to face this problem, as well as the fact that there are a few new forms and ideas in modern painting, that these have validity, that they are here to stay and will be developed whether opposed or not... They should investigate the serious ideas underlying the painting which they malign. (his comment on the attacks of critics on abstract art, 1948)
Adolph Gottlieb
A painter makes patterns with shapes and colours, a poet with words. A painting may embody an ‘idea’, but the idea is usually commonplace and unimportant. In poetry, ideas count for a good deal more; but, [...] the importance of ideas in poetry is habitually exaggerated: '... Poetry is no the thing said but a way of saying it.' [In poetry,] the poverty of the ideas seems hardly to affect the beauty of the verbal pattern.
G. H. Hardy
Rauschenberg, Robert
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