Arshile Gorky: Paint

Arshile Gorky was Armenian-American painter. Explore interesting quotes on paint.
Arshile Gorky: 64   quotes 3   likes

“You know how fussy and particular I am in painting. I am ever removing the paint and repainting the spot until I am completely exhausted.”

Arshile Gorky

Source: posthumous, Movements in art since 1945, p. 15: (in Gorky Memorial Exhibition, Schwabacher pp. 12)

Painting

“It would be a sad thing for an artist if he knew how to paint. – so sad. An artist paints because it is a challenge to him – it is like trying to twist the devil. If you overcome it, there is no sport left. I don't even like to talk about painting. It is impossible to talk about painting because I don't know what it is. If I knew what it was I would get out a patent and then no one else would be able to paint.”

Arshile Gorky

1942 - 1948, A Painter in a Glass House' (1948)

Sadness , Sport , Painting

“The oldest girl [his daughter Maro, four and a half years old] did this. She paints like a little bird. And this, the young one [Natasha, two and a half] did. See, she paints on both sides of the canvas. She is more like a passionate plumber. I wish I could paint as freely as they do. There is a gravity of playfulness in their work. If they could only keep it – but they will lose it as they grow older.”

Arshile Gorky

1942 - 1948, A Painter in a Glass House' (1948)

Girl , Bird , Passion , Painting

“I like the heat the tenderness the edible the lusciousness the song of a single person the bathtub full of water to bathe myself beneath the water. I like Ucello, Grunewald, Ingres, the drawings and sketches for paintings of Seurat and that man [=Pablo Picasso ]. I measure all things by weight.”

Arshile Gorky

1942 - 1948
Source: text for MoMA, describing the 'Garden in Sochi' - series, 26 June 1942

Water , Drawing , Painting , Personality

“Delacroix spoke of the Greek coin being built from the center out. Vermeer has painted in this way, according to the principles of mass... How beautifully they are drawn – Vermeer does not just make a leaf and place it in the design, he relates space and leaf. [in the painting of Vermeer: 'Allegory on the New Testament']. That drapery – it is abstract – observe how this shape [a space between a shepherd and the tree] curves around the center space while the tree counter-curves opposite it, cutting an egg shape.... the spaces on the carpet that carry no figuration are, in fact, shapes of vital importance in building the whole..”

Arshile Gorky

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), p. 357: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher, 1947

Way , Tree , Painting

“About a hundred and ninety-four feet away from our house [Gorky was born in Armenia] on the road to the spring, my father had a little garden with a few apple trees which had retired from giving fruit. There was a ground constantly in shade where grew incalculable amounts of wild carrots, and porcupines had made their nests. There was a blue rock half buried in the black earth with a few patches of moss placed here and there like fallen clouds. But from where came all the shadows in constant battle like the lancers of w:Paolo Ucello's painting? This garden was identified as the Garden of Wish Fulfilment and often I had seen my mother and other village women opening their bosoms and taking out their soft breasts in their hands to rub them on the rock. Above this all stood an enormous tree all bleached under the sun, the rain, the cold, and deprived of leaves. This was the Holy Tree. I myself don't know why this tree was holy but I had witnessed many people, whoever did pass by, that would tear voluntarily a strip of their clothes and attach this to the tree. Thus through many years of the same ac, like a veritable parade of banners under the pressure of wind all these personal inscriptions of signatures, very softly to my innocent ear used to give echo to the sh-h—h-sh—h of silver leaves of the poplars.”

Arshile Gorky

Source: posthumous, Astract Expressionist Painting in America, p. 124, (in Gorky Memorial Exhibition, Schwabacher pp. 22,23

Women , People , Spring , Tear

“Dear Dorothy, my biography is very short [asked for by the MOMA].... I was born in Tiflis, Caucacus, South Russia, October 25th, 1904 and after the usual studies I came to America in 1920. I had been painting steadily since I was seven and continued to do so during my three and a half years at Brown University where I studied engineering. In 1925 I came to New York and taught at the Grand Central Art School for seven years. I have been living and working ever since in New York.”

Arshile Gorky

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), p. 163: in a letter to Dorothy Miller, [at the staff on MOMA, New York], 26 June 1942

School , Art , Study , Universe

“Subject…. no specific scene but many incidents. – The first word I spoke was Argula – it has no meaning. I was then five years old. Thus I called this painting 'Argula' as I was entering a new period closer to my instincts.
(Technique..:) Hundreds and hundreds of layers of paint to obtain the weight of reality – Art this period I measured by weight. [mid 1930's]”

Arshile Gorky

in his reply to Questionnaires of the MOMA museum, 1941
Gorky's quote refers on his multi-layered painting technique Gorky applied those days
1930 - 1941

Art , Reality , Painting

“It is true – is it not – that even Ingres [French classical painter, famous for his line] had to revise – yes, the surface of the painting is smooth, finished and incorruptible as a diamond, but under the accomplished surface are pentimenti – see there at the shoulder, how the line of the black dress was lowered qua fraction and the hand was extended to give greater elegance... Are these not signs of the patient revision that even a genius has to make.”

Arshile Gorky

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), p. 358: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher, 1947

Painting

“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.”

Arshile Gorky

quote of 1948
1942 - 1948
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p 32

Quotes , Change , Time , Painting

“Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it... Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality.”

Arshile Gorky

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), pp. 357-58: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher]], 1947

Art , Reality , Effort , Light

“When I feel tired and discouraged and I lie down on the sofa, then I think of the simplest thing I can – a piece of string – and I go in it and paint it. That's the way to keep painting – to create something inside that makes you want to recreate it.”

Arshile Gorky

1942 - 1948, A Painter in a Glass House' (1948)

Lie , Way , Feeling , Thinking

“It would be a sad thing for an artist if he knew how to paint.”

Arshile Gorky

so sad. An artist paints because it is a challenge to him – it is like trying to twist the devil. If you overcome it, there is no sport left. I don't even like to talk about painting. It is impossible to talk about painting because I don't know what it is. If I knew what it was I would get out a patent and then no one else would be able to paint.
1942 - 1948, A Painter in a Glass House' (1948)

Sadness , Painting