Robert Motherwell: Quotes about art

Robert Motherwell was American artist. Explore interesting quotes on art.

Robert Motherwell: 84 quotes0 likes

“Nothing as drastic an innovation as abstract art could have come in to existence, save as the consequence of a most profound, relentless, unquenchable need. The need is for felt experience - intense, immediate, direct, subtle, unified, warm, vivid, rhythmic.”

Robert Motherwell

“Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean'. I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean…. I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.”

Robert Motherwell

first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 81
1960s, Interview with David Sylvester', (1960)

“The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.”

Robert Motherwell

1951; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory' from his responding at the 1951 MoMA symposium, in which several artists were asked to respond to the prompt 'What Abstract Art Means to Me' 1950s

“[modern art is the story of certain peoples'] desire to get rid of what is dead in human experience, to get rid of concepts, whether aesthetic or metaphysical or ethical or social, that, being garbed in the costumes of the past, get in the way of their enjoyment.”

Robert Motherwell

Lecture at Mount Holyoke College, August 1944; later published as 'A Tour of the Sublime', in 'Tiger's Eye', 15 Dec. 1948; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory' 1940s

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist's task; and it is the qualities of this object that constitute its felt content.”

Robert Motherwell

Source: 1940s, Beyond the Aesthetics' (1946), pp. 36-37

“Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world... The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.”

Robert Motherwell

Source: 1940s, Beyond the Aesthetics' (1946), pp. 38-39

“One is to know that art is not national, that to be merely an American or a French artist is to be nothing; to fail to overcome one's initial environment is never to reach the human... Thus when we say one of the ideals of modern art has been internationalism, it is.... as a natural consequence of dealing with reality on a certain level.”

Robert Motherwell

quote in 1946
As quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 439
1940s

“Great art is never extreme. Criticism moves in a false direction, as does art, when it aspires to be a social science... In this world modern artists form a kind of spiritual underground.”

Robert Motherwell

Motherwell's writing in 1944; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory' 1940s

“We [the American Abstract-expressionist artists of the 1940's] were formed by the Depression [1930's], when the American dream lay in pieces on the floor. The possibility of making money was inconceivable to us. America was innocent in relation to modern art, and no one cared. The reigning painters in America were very parochial in relation to the international tradition... What held us together was our ambition to use the standards of international modernism as a gauge, not those of Thomas Hart Benton or Grant Wood or Guy Pene du Bois. We did have a terrible struggle, but not for success. It was to make painting that would stand up under international scrutiny, and all the rest was a byproduct.”

Robert Motherwell

as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991 https://www.nytimes.com/1991/07/18/obituaries/robert-motherwell-master-of-abstract-dies.html Undated

“I think he Pollock responded to rhythm more than anything else in art. Indeed, perhaps it is not to much to assert that his greatest works are marked by the intensity and violence of his rhythm, modified by an incorruptible respect for the work's flat surface, an art masculine and lyrical and, as in a Celtic dance, measured, despite its original primitive impulse. That he also meant to me, his rhythm…”

Robert Motherwell

'Jackson Pollock: An Artists' Symposium', in 'ARTnews', Vol. 66, no. 2 April 1967
1960s

“I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting... An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies…”

Robert Motherwell

Source: 1950s, The painter and the audience' (1954), pp. 109-110

“Among other ends, modern art is related to the ideal of Internationalism.”

Robert Motherwell

American Abstract Expressionism of the 1950's, An Illustrated Survey, Herskovic, Marika; nyschoolpress, 2003, p.238
after 1970

“Indeed, our society, which has seemed so freedom-giving and passive in its attitudes toward the artist really makes extraordinary demands upon him: on the one side, to be free in some vague spiritual sense, free to act only as an artist, and yet on the other side to be rigorously tested as to whether the freedom he has achieved is great enough to be more solidly dependable than a government's financial structure... No wonder that modern painters, in view of these curious relations to society, have taken art matters into their own hands, decides for themselves what art is, what its subjects are to be, and how they are to be treated. Art like love is an active process of growth and development.”

Robert Motherwell

Source: 1950s, The painter and the audience' (1954), p. 108

“Before 1940 there was relatively little abstract art in America. Most of it was relatively geometric versions of Cubism, or of Mondrian and De Stijl, or of Arp reliefs, and the like. So that when our painting [of the artists of the New York School: Abstract Expressionism first appeared, the critics at once realized that to describe it as 'abstract' would be misleading... In America, the word (I suppose taken from Germany) for something highly emotional is 'expressionist', and some critic, either in the New Yorker or the New York Times then called it Abstract Expressionism, meaning that this was a very emotional art, but an abstract one.”

Robert Motherwell

first published in 'Metro', 1962; as cited in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 80
1960s, Interview with David Sylvester', (1960)