Robert Motherwell: Relation

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

Robert Motherwell: 84 quotes0 likes

“I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling. I begin with shapes and colors which are not related internally nor to the external world; I work without images. Ultimate unifications come about through modulations of the surface by innumerable trials and efforts. The final picture is the process arrested at the moment when what I was looking for flashes into view.”

Robert Motherwell

Cconversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 94
after 1970

“A modern painter may have many audiences or one or none; he paints in relation to none of them, though he longs for the audience of other modern painters.”

Robert Motherwell

Source: 1950s, The painter and the audience' (1954), p. 107

“The passions are a kind of thirst, inexorable and intense, for certain feelings or felt states. To find or invent 'objects' (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions,- that for me is the activity of the artist, an activity which does not cease even in sleep. No wonder the artist is constantly placing and displacing, relating and rupturing relations; his task is to find a complex of qualities whose feeling is just right – veering toward the unknown and chaos, yet ordered and related in order to be apprehended.”

Robert Motherwell

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

“.. for most painters nowadays [1954] examination is self-examination – this is all that we are accustomed to – while the relation to the audience is a social matter. And it is our pictures, not ourselves, that live the social life and meet the public.”

Robert Motherwell

Source: 1950s, The painter and the audience' (1954), p. 106

“In my case, I find a blank canvas so beautiful that that to work immediately, in relation to how beautiful the canvas is as such, is inhibiting and, for me, demands 'too much to quickly'; so that my tendency is to get the canvas 'dirt', so to speak, in one way or another, and then, so to speak 'work in reverse', and try to bring it back to an equivalent of the original clarity and perfection of the canvas, that one began on…”

Robert Motherwell

as cited in Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 111
1960s, Interview with David Sylvester', (1960)

“It would be very difficult to formulate a position in which there were no external relations. I cannot imagine any structure being defined as though it only has internal meaning.”

Robert Motherwell

Modern Artists in America, First Series, R. Motherwell, Ad Reinhardt and B. Karpel eds., 1952; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 40
1950s

“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 <br class="br">Undated

“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