Agnes Martin: Paint

“I am grateful for the [financial] assistance I received last year [1955] through the Helene Wurlitzer Foundation. It gave me the materials I needed and a certain amount of security and enabled me to make a very good try for my New York show. This did not succeed but Miss Betty Parsons whose gallery I will eventually show in assured me that in one more year she thought I could make it, which is not discouraging... I painted all together one hundred canvasses of which I had a good opinion and sold seven”

Agnes Martin

in a year
In a letter to Helene Wurlitzer, late 1956; as quoted by Christina Bryan Rosenberger, in Drawing the Line: The Early Work of Agnes Martin, Univ of California Press, July 2016, p. 88
1950's

Painting

“You can't be in an unconscious state and paint. Because whatever is in your mind, and not the subject matter, but the feelings that you have related to that subject matter, is what you're going to paint. So, the beginning is not actually painting, you know. The beginning of painting is not you put down green, and then you like pink, and you put down pink.
Painting's not about that anymore than music is about this sound and that sound.... And it's something that drives you to expression. And it's irresistible.”

Agnes Martin

1974
1970's, interview, K. Horsfield & L. Blumenthal

Music , Feeling , Painting

“The little rectangle contradicts the square. And the square is authoritative... The rectangle is pleasant, whereas the square is not.... It's too stiff, too authoritative. My paintings are made up of little rectangles, not little squares There was a scholar who dug up a Tantric drawing that was just like my grid, and it was made of rectangles, too, just exactly like mine... I was surprised. I didn't think anybody had made a grid quite like that.”

Agnes Martin

1980 - 2000, Perfection Is in the Mind', 1995

Thinking , Drawing , Painting

“When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision.”

Agnes Martin

interview by Suzan Campbell, May 15, 1989; transcript in 'Archives of American Art', The Smithsonian Institution, Washington, D.C.
One of her first grid paintings she made in New York in 1964, it was [ https://www.moma.org/collection/works/78361 titled 'The Tree']. Martin often described this painting as her first grid. In fact, she had been making them since at least the beginning of 1960's
1980 - 2000

Thinking , Tree , Painting

“People think that painting is about color
It's mostly composition
It's composition that's the whole thing
The classic image-
Two late Tang dishes, one with a flower image,
one empty – the empty form goes all the way to heaven
It is the classic form – lighter weight.”

Agnes Martin

1970's, The Untroubled Mind', 1971

People , Color , Way , Flowers

“You can't make a perfect painting. We can see perfection in our minds. But we can't make a perfect painting.”

Agnes Martin

interview with Joan Simon, 1995 in Perfection is in the Mind, p. 86; as quoted in A House Divided: American Art Since 1955, Anne M. G. Wagner, Univ. of California Press, 2012, p. 263
1980 - 2000

Painting , Perfection

“There's no indication or hint about the material world in my painting. No, I don't paint about the world. Everybody else is painting about the world. That's enough.”

Agnes Martin

after 2000, Agnes Martin: Between the Lines', 2002

World , Painting

“When I draw horizontals
you see this big plane and you have certain feelings like
you're expanding over the plane
Anything can be painted without representation”

Agnes Martin

1970's, The Untroubled Mind', 1971

Feeling , Drawing , Painting

“It takes time, see. You finish painting the painting and then you turn it to the wall. I mean, you say, does it have it or doesn't it have it? If it doesn't have it, you throw it away, but if you think it has it, you turn it to the wall. And then when you have made some more work, then you turn them all over. And you, again, try to see exactly what it does mean and just exactly how effectively you have rendered this meaning.”

Agnes Martin

1974
1970's, interview, K. Horsfield & L. Blumenthal

Thinking , Time , Painting

“When we realize that we can see life we gradually give up the things that stand in the way of our complete awareness. As we paint we move along step by step. We realize that we are guided in our work by awareness of life.”

Agnes Martin

from her 1989 piece for 'Artspace', 'The Current of the River of Life Moves Us'
1980 - 2000

Life , Way , Painting

“I painted for 20 years without liking them very much, you know. I burnt them at the end of every year. For 20 years I burnt the whole bunch because I didn't want them to get in the market. And well, sometimes when I was starving, I used to sell one cheap, you know. But I always regretted it because you hate to think of a painting in somebody's house that you don't like well enough, you know.”

Agnes Martin

after 2000, Agnes Martin: Between the Lines', 2002

Hate , Thinking , Painting , Housing

“I used to look in my mind for the unwritten page
if my mind was empty enough I could see it
I didn't paint the plane
I just drew this horizontal line
Then I found out about all the other lines
But I realized what I liked was the horizontal line
Then I painted the two rectangles
correct composition
if they're just right”

Agnes Martin

1970's, The Untroubled Mind', 1971

Painting

“Nature is like parting a curtain, you go into it. I want to draw a certain response like this.... that quality of response from people when they leave themselves behind, often experienced in nature, an experience of simple joy... My paintings are about merging, about formlessness... A world without objects, without interruption.”

Agnes Martin

Ann Wilson, from her talks in the Summer of 1972 at Agnes Martin's home in Mexico - an unpublished document; as quoted in Agnes Martin: Her Life and Art, Chapter 7 - 'Departures', Nancy Princenthal; Thames and Hudson, New York, p. 195-196
Wilson's visit to Cuba in Mexico was to work towards the publication accompanying Martin's exhibition at the Institute of Contemporary Art in Philadelphia in 1973, curated by Suzanne Delehanty
1970's

People , World , Nature , Joy

“Take beauty: it's a very mysterious thing, isn't it? I think it's a response in our minds to perfection... My paintings are certainly nonobjective. They're just horizontal lines. There's not any hint of nature. And still everybody responds, I think.”

Agnes Martin

1980 - 2000, Perfection Is in the Mind', 1995

Beauty , Nature , Thinking , Painting

“I am simply painting concrete representation of abstract emotions such as innocent love, ordinary happiness. I do want an emotional response. And I paint about emotions, not about lines. The truth is that it's not the lines that express the emotion. It's the scale of the composition. You know, if you go into a room that has perfect scale, you feel it... If the painting has perfect scale, it moves you. And you have different scale to show different emotions. It's the space between the lines that counts.”

Agnes Martin

after 2000, Agnes Martin: Between the Lines', 2002

Love , Truth , Feeling , Painting