Ellsworth Kelly: Working

Ellsworth Kelly was American painter, sculptor, and printmaker. Explore interesting quotes on working.
Ellsworth Kelly: 56   quotes 0   likes

“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

Ellsworth Kelly

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Art , Way , Idea , Painting

“I usually let them [his drawings] lies around for a long time. I have to get to really like it. And then when I do the painting I have to get to like that too. Sometimes I stay with the sketch, sometimes I follow the original idea exactly if the idea is solved. But most of the time there have to be adjustments during the painting. Through the painting of it I find the color and I work the form and play with it and it adjusts itself.”

Ellsworth Kelly

In an interview by Henry Geldzahler, 'Art International 1.', February 1964, p. 48
1950 - 1968

Color , Idea , Time , Drawing

“I felt that everything is beautiful, but [not? ] that which man tries intentionally to make beautiful; that the work of an ordinary bricklayer is more valid than the artwork of all but a very few artists.”

Ellsworth Kelly

Quotes from 'Notes from 1969', Ellsworth Kelly; as quoted in the exhibition catalogue, Stedelijk Museum Amsterdam, 13 December
1969 - 1980

Beauty

“I like to work from things that I see, whether they're man-made or natural or a combination of the two... The things that I'm interested in have always been there. The idea of a shadow and a natural object has existed, like the shadow of the pyramids, or a rock and its shadow; I'm not interested in the texture of the rock, or that it is a rock, but in the mass of it, and its shadows.”

Ellsworth Kelly

Quote in an interview by Henry Geldzahler, 'Art International 1.', February 1964, p. 48
1950 - 1968

Idea , Nature

“My work is about structure. It has never been a reaction to Abstract Expressionism. I saw the Abstract Expressionists for the first time in 1954. My line of influence has been the 'structure' of the things I liked: French Romanesque architecture, Byzantine, Egyptian and Oriental art, Van Gogh, Cézanne, Monet, Klee, Picasso, Beckman..”

Ellsworth Kelly

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Art , Time

“Soon after completing the 'La Combe' series [circa 1950] I had a dream in which I was assisted by many children on a scaffold, painting a huge mural made up of square panels fitted together. Each panel was being painted by a child very quickly in long black strokes with huge brushes. The work was done in seconds. Upon waking I immediately made a reminder sketch of the mural. Later I made a drawing of many ink strokes, which I cut up into twenty squares and placed at random in a four-by-five grid..”

Ellsworth Kelly

as quoted in "Ellsworth Kelly", John Coplands; Harry N. Abrams, New York, 1971
1969 - 1980

Children , Dreams , Drawing , Painting

“When I left Paris in 1954, I saw no art that was being 'made' like mine and returning to the U. S. I found no one 'making' art that way either. In my own work, I have never been interested in painterliness (or what I find is) a very personal handwriting, putting marks on a canvas. My work is a different way of seeing and making something and which has a different use.”

Ellsworth Kelly

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Art , Way , Personality

“In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.”

Ellsworth Kelly

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 9 : 'Notes from 1969'

Life , Way , Knowledge , Problem

“Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous.”

Ellsworth Kelly

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 9-10 : 'Notes from 1969'

Art , Painting

“When I want to do a painting with one colour overlapping another, it has to be a real overlap, not a depicted overlap. I didn't want to paint an overlap, meaning that it would be a deception or illusion. I no longer wanted to depict space, but to make a work that existed in literal space. Thus, my recent works are one canvas as a relief over another canvas. Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White 1952. It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects.”

Ellsworth Kelly

1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009

Idea , Painting