Silence is so accurate.
I'm not an abstractionist. I'm not interested in the relationship of color or form or anything else. I'm interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.
It is really a matter of ending this silence and solitude, of breathing and stretching one's arms again.
There is only one thing I fear in life, my friend: One day, the black will swallow the red.
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.
The most interesting painting is one that expresses more of what one thinks than of what one sees
To me art is an adventure into an unknown world, which can be explored only by those willing to take the risk.
A painting is not a picture of an experience, but is the experience.
There is more power in telling little than in telling all.
When I was a younger man, art was a lonely thing. No galleries, no collectors, no critics, no money. Yet, it was a golden age, for we all had nothing to lose and a vision to gain. Today it is not quite the same. It is a time of tons of verbiage, activity, consumption. Which condition is better for the world at large I shall not venture to discuss. But I do know, that many of those who are driven to this life are desperately searching for those pockets of silence where we can root and grow. We must all hope we find them.
The reason for my painting large canvases is that I want to be 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 larger picture, you are in it. It isn't something you command.
You think my paintings are calm, like windows in some cathedral? You should look again. I'm the most violent of all the American painters. Behind those colours there hides the final cataclysm.
Art to me is an anecdote of the spirit,
If you are only moved by color relationships, you are missing the point. I am interested in expressing the big emotions - tragedy, ecstasy, doom.
Pictures must be miraculous.
I am here to make you think. . . . I am not here to make pretty pictures!
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 progression of a painter’s work…will be toward clarity; toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer…to achieve this clarity is, inevitably, to be understood.
Without monsters and gods, art cannot enact a drama.
For, while the authority of the doctor or plumber is never questioned, everyone deems himself a good judge and an adequate arbiter of what a work of art should be and how it should be done.
The abstract artist has given material existence to many unseen worlds and tempi.
I will say without reservations that from my point of view there can be no abstractions. Any shape or area that has not the pulsating concreteness of real flesh and bones, its vulnerability to pleasure or pain is nothing at all. Any picture that does not provide the environment in which the breath of life can be drawn does not interest me.
The people that weep before my paintings are having the same religious experience that I had when I painted it.
A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is therefore risky to send it out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent.
It is the poet and philosopher who provide the community of objectives in which the artist participates. Their chief preoccupation, like the artist, is the expression in concrete form of their notions of reality. Like him, they deal with the verities of time and space, life and death, and the heights of exaltation as well as the depths of despair. The preoccupation with these eternal problems creates a common ground which transcends the disparity in the means used to achieve them.
I'm not an abstractionist... I'm not interested in relationships of colour or form or anything else.
I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.
