Willem de Kooning: Quotes about thinking

“Nature then, is just nature. I admit I am very impressed with it. The attitude that nature is chaotic and that the artist puts order into it is a very absurd point of view, I think. All that we can do for is to put some order in ourselves. When a man ploughs his field at the right time, it means just that.”

Willem de Kooning

De Kooning's lecture Trans/formation, at Studio 35, 1950.
1950's

Nature , Thinking , Time

“I still think that Boccioni was a great artist and a passionate man. I like El Lissitsky's painting very much. But Mondrian that great merciless artist, is the only one who had nothing left over. The point they all had in common was to be both inside and outside at the same time. A new of likeness!... for me to be inside and outside is to be in an unheated studio with broken windows in the winter.”

Willem de Kooning

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Thinking , Passion , Winter , Time

“[in Italian Renaissance] there was no 'subject-matter'. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or lying down. He became a bather, she became a bather; she was reclining; he just stood there looking ahead. That is when the posing in painting began… For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.”

Willem de Kooning

The Renaissance and Order Trans/formation 1, 1951; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 113.
1950's

Life , Death , Art , Girl

“I feel now if I think of it, it will come out in the painting. In other words, if I want to make the whole painting look like a bottle, like a lot of bottles - for instance maybe the end of the day, when everything is very light, but not in sunlight necessarily - and so if I have this image of this bottle and if I really think about it, it will come out in the painting. That doesn’t mean that people notice a bottle, but I know when I succeed in it – then the painting would have this.”

Willem de Kooning

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 49.
1960's

People , Feeling , Thinking , Light

“I think I would choose Soutine... I've always been crazy about Soutine - all of his paintings. Maybe it's the lushness of the paint. He builds up a surface that looks like a material, like a substance. There's a kind of transfiguration, a certain fleshiness in his work... I remember when I first saw the Soutine's in the Barnes Collection.... the Matisse's had a light of their own, but the Soutine's had a glow that came from within the paintings - it was another kind of light.”

Willem de Kooning

The impact of Chaim Soutine (1893-1943): de Kooning, Pollock, Dubuffet, Bacon, publisher: Hatje Cantz, Galerie Gmurzynska, Cologne (Köln), 2001.
Answer on the question who is his favourite artist, probably made around 1977.
1990's & from posthumous publications

Thinking , Light , Painting

“Certain artists and critics attacked me for painting the 'Women' [series of paintings, De kooning started in 1950], but I felt that this was their problem, not mine. I don’t really feel like a non-objective painter at all... It's really absurd to make an image, like a human image. With paint, today, when you think about it, since we have this problem of doing it or not doing it. But then all of a sudden it was even more absurd not to do it. So I fear I have to follow my desires.”

Willem de Kooning

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 45.
1960's

Women , Fear , Feeling , Problem

“When, about fifteen years ago, I walked into Arshile's studio for the first time, the atmosphere was so beautiful that I got a little dizzy and when I came to, I was bright enough to take the hint immediately. If the bookkeepers think it necessary to make sure of where things and people came from, well then, I came from 36 Union Square [address of the studio of Gorky that time]... I am glad that it is about impossible to get away from his powerful influence.”

Willem de Kooning

ART news, Vol. 47, no 9, January 1949
1940's

People , Beauty , Thinking , Time

“No, the artists are in a state of belated Age of Reason. They want to get hold of things, like Mondrian. He was a fantastic artist, but now when we read his ideas and his idea of Neo-Plasticism [= De Stijl ] – pure plasticity – it’s kind of silly, I think. I mean, not for him, but I think one could spend one's life having this desire to be in and outside at the same time. He could see a future life and a future city – not like me, who am absolutely not interested in seeing the future city. I'm perfectly happy to be alive now.”

Willem de Kooning

Quote of De Kooning from an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 49
1960's

Life , Age , Idea , Thinking

“There is a train track in the history of art that goes way back to Mesopotamia. It skips the whole Orient, The Mayas, And American Indians. Duchamp is on it. Cézanne is on it. Picasso and the Cubists are on it; Giacometti, Piet Mondrian, and so many... I have some feeling about all these people – millions of them – on this enormous track, a way into history. They had a peculiar way of measuring. They seemed to measure with a length similar to their own height... The idea that the thing that the artist is making can come to know for itself, how high it is, how wide and how deep it is, is a historical one, - a traditional one I think. It comes from man's own image.”

Willem de Kooning

De Kooning’s lecture Trans/formation at Studio 35, 1950.
1950's

People , Art , Way , Feeling

“For really, when you think of all the life and death problems in the art of the Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.”

Willem de Kooning

The Renaissance and Order (1950) Trans/formation, vol. 1, no.2, 1951, pp. 85-87.
1950's

Life , Death , Art , Girl

“Personally, I do not need a movement. What was given to me, I take for granted. Of all movements, I like Cubism most. It had that wonderful unsure atmosphere of reflection - a poetic frame where something could be possible, where an artist could practise [sic] his intuition. It didn't want to get rid of what went before. Instead it added something to it. The parts that I can appreciate in other [art] movements came out of Cubism. Cubism became a movement, it didn't set out to be one. It has force in it, but it was no 'force-movement.' And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.”

Willem de Kooning

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Art , Thinking , Parting , Personality

“And then there is that one-man movement, Marcel Duchamp — for me a truly modern movement because it implies that each artist can do what he thinks he ought to — a movement for each person and open for everybody.”

Willem de Kooning

1990's & from posthumous publications
Source: Quoted in A Brief History of American Culture (1996) by Robert M. Crunden, p. 279.

Thinking , Personality

“Art never seems to make me peaceful or pure. I always seem to be wrapped in the melodrama of vulgarity. I do not think.... of art as a situation of comfort.”

Willem de Kooning

Original: Original in Dutch: Kunst lijkt me nooit volledig of zuiver te maken. Het is of ik altijd verwikkeld ben in het melodrama van de alledaagsheid. [...]
Source: Quote of De Kooning from Beyond the Aesthetic, Robert Motherwell, Design 47, April 1946, as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 101.

Peace , Art , Thinking