Adolph Gottlieb Quotes (27 quotes) | Quotes of famous people

Adolph Gottlieb: 27 quotes 1 like

Famous Adolph Gottlieb Quotes

“We were outcasts, roughly expressionist painters not acceptable to most dealers and collectors.(A reference to the TEN group of painters).”

Adolph Gottlieb

1950s, Conversations With Artists, 1957

“I was looking for some sort of systematic way of getting down these subjective images and I had always admired, particularly admired the early Italian painters who proceeded the Renaissance and I very much liked some of the altarpieces in which there would be, for example the story of Christ told in a series of boxes... And it seemed to me this was a very rational method of conveying something. So I decided to try it. But I was not interested in telling, in giving something its chronological sequence. What I wanted to do was give something, to present what material I was interested in simultaneously so that you would get an instantaneous impact from it. So, I made boxes..”

Adolph Gottlieb

Variant: I was looking for some sort of systematic way of getting down these subjective images and I had always admired, particularly admired the early Italian painters who proceeded the Renaissance and I very much liked some of the altarpieces in which there would be, for example the story of Christ told in a series of boxes... And it seemed to me this was a very rational method of conveying something. So I decided to try it. But I was not interested in telling, in giving something its chronological sequence. What I wanted to do was give something, to present what material I was interested in simultaneously so that you would get an instantaneous impact from it. So I made boxes..
Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

“[David Sylvester asked Gottlieb, he is aware of the impact of the city New York on his painting:] Definitely I am. When I was in Paris last spring, my original plan was to go for four months and to paint there, and a number of people urged me to stay. That wanted to see what would happen, how my painting would change. But I felt strongly after being there less than a month that it was necessary for me to come back to New York, because I feel a certain rhythm in New York I don't feel in Paris.... there is a tempo in the life of New York which is exhilarating and I feel that this gets into one's painting. It's the pulse, not the look. I'am not involved with the external appearance of the city; it’s the vibrations. ]”

Adolph Gottlieb

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in ‘Living Arts, June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 33
1960s

“We are going to have perhaps a thousand years of non-representational painting.”

Adolph Gottlieb

1950s, Conversations With Artists, 1957

“By now it has become a formula to attach new ideas on the grounds of extremism and unintelligibility. Every phase of modern art has in turn been attacked on these grounds, until the new phase became acceptable. Although the present attacks are focused on those who emphasize the subjective side of abstract painting, the threat to other sections of the modern painting is implicit. The attacks are always focused on those who are considered the black sheep, for reasons of non-conformity. They are conspicuous, because they are different, and therefore may be easy targets.”

Adolph Gottlieb

Gottlieb's comment on the attacks on artistic freedom in the United States, 1948
Quote from Gottlieb's lecture at Forum: the Artist Speaks, museum of Modern Art, New York, May 5, 1948.
1940s

“After doing the imaginary landscapes until say 1956, in ’57 I came out with the first Burst painting… There was a different type of space than I had ever used and it was a further clarification of what I was trying to do. The thing that was interesting that it was a return to a focal point, but it was a focal point with the kind of space that existed in traditional painting. Because this was like a solitary image or two images that were just floating in the canvas space. They had to hold the space and they also had to create all the movement – that took place within the rectangle.”

Adolph Gottlieb

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Adolph Gottlieb Quotes about painting

“See, I never understand why my paintings hold together because I don't have any tricks for doing it and that is usually what makes a painting academic. There were some well-known devices for making a painting work hold together, ave cohesion. This seemed to be organized. But I don't necessarily have to know what the mechanism is. For me, what it really is, is something you have in yourself that makes you feel, it gives the painting a feeling of unity, of oneness, and being of all of one piece.”

Adolph Gottlieb

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

“As for a few others, the vital task was a wedding of abstraction and surrealism. Out of these opposites something new could emerge, and Gorky’s work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art... These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think Gorky evolved his style.”

Adolph Gottlieb

Arshile Gorky Adolph Gottlieb in exhibition catalogue Kootz Gallery New York, 1950; as quoted in Abstract Painting in America, W.C, Seitz p. 104.
1950s

“People frequently ask why my canvases are compartmentalized. No one ever asks this about a house. A man with a large family would not choose to live in a one-room house... I am like a man with a large family and must have many rooms. The children of my imagination occupy the various compartments of my painting, each independent and occupying its own place. At the same time they have the proper atmosphere in which to function together, in harmony and as a unified group. One can say that my paintings are like a house, in which each occupant has a room of his own.”

Adolph Gottlieb

Arts and Architecture, vol. 68, no 9, September 1951, p. 21.
1950s

“.. Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings…. at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently…. For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now…. they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.”

Adolph Gottlieb

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28
1960s

“I wanted to do something figurative. Well I couldn’t visualize a whole man... I felt that I wanted to make a painting primarily with painterly means. So I flattened out my canvas and made them roughly rectangular divisions, with lines going out in four directions. That is, vertically and horizontally... And then I would free associate, putting whatever came to my mind freely within these different rectangles… I thought of it as related tot the automatic writing the surrealists were interested in.”

Adolph Gottlieb

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

“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.”

Adolph Gottlieb

Gottlieb's quote on the attacks of critics on abstract art, 1948
Quote from Gottlieb's Lecture, given at 'Forum: the Artist Speaks', museum of Modern Art, New York, May 5, 1948.
1940s

Adolph Gottlieb Quotes about time

“In times of violence, personal predilections for niceties of colour and form seem irrelevant. All primitive expression (like the myths) reveals the constant awareness of powerful forces, the immediate presence of terror and fear.”

Adolph Gottlieb

Radio broadcast with Mark Rothko, 1943, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990.
1940s

“To my mind certain so-called abstraction is not abstraction at all.... on the contrary it is realism of our time.”

Adolph Gottlieb

1950s, Conversations With Artists, 1957

“The role of the artist, of course, has always been that of image-maker. Different times require different images. Today when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To my mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time.”

Adolph Gottlieb

The Ideas of Art, Tiger's Eye, Vol. 1, nr 2, December 1947, p. 43.
1940s

“For example, Rothko and I came to an agreement on the question of the subject matter; if we were to do something which could develop in some direction other than the accepted directions of that time, it would be necessary to use different subjects to begin with, and 1942, we embarked on a series of paintings that attempted to use mythological subject matter, preferably from Greek mythology. I did a series of paintings on the theme of Oedipus and Rothko did a series of paintings on other Greek themes….. this offered a possibility of a way out [of a. o. Social Realism and Cubism ]”

Adolph Gottlieb

“The role of the artist, of course, has always been that of image-maker. Different times require different images.”

Adolph Gottlieb

1950s, Conversations With Artists, 1957

“Around 1950-51… I was finally getting away from the pictographs and looking for something… So it was necessary to find other forms, a different changed concept. So finally after a certain period of transition I hit on dividing the canvas into two parts, which then became like an imaginary landscape… What I was really trying to do when I got away from the pictographs was to make this notion of the kind of polarity clearer and more extreme. So the most extreme thing that I could think of doing at the time was dividing the canvas in half, make two big divisions and put something in the upper division and something in the lower section. So I painted that way… I would say roughly from 1952 to 56/57. About five years.”

Adolph Gottlieb

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.