William Baziotes: Paint

“As for the subject matter in my painting…it is very often an incidental thing in the background, elusive and unclear, that really stirred me.”

William Baziotes

Fifteen Americans, Exhibition catalogue, Museum of Modern Art, 1952 p. 12
1950s

Painting

“Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors... Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.”

William Baziotes

I Cannot Evolve Any Concrete Theory, William Baziotes, in Possibilities, Vol. I, no. 1, New York, winter 1947-48, p. 2
William Baziotes is referring in this quote to Surrealist automatism originally a surrealist art concept
1940s

Color , Way , Sense , Painting

“I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished.”

William Baziotes

Source: 1950s, Artists' Session at Studio 35, (1950), p. 213

Painting

“Contact with other artists has always been of great importance to me. When the artists I know best used to meet.... the talk was mostly of ideas in painting. There was an unconscious collaboration between artists. Whether you agreed or disagreed was of no consequence. It was exciting and you were compelled to paint over your head…. If your painting was criticized adversely, you either imitated someone to give it importance, or you simply suffered and painted harder to make your feelings on canvas convincing... What does happen when artists meet is that we are able to see more clearly the unfolding of character as time goes on.”

William Baziotes

Quote from Baziotes' text for the symposium 'The Creative process', Art Digest Vol. 28, no 8, 15; January 1954, p. 33
Baziotes is referring here to the many art-debates and exchanges between the New York Abstract Expressionist artists
1950s

Feeling , Idea , Suffering , Time

“Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.”

William Baziotes

Source: 1950s, Artists' Session at Studio 35, (1950), p. 217

People , Painting

“Today it's possible to paint one canvas with the calmness of an ancient Greek and the next with the anxiety of a Van Gogh. Either of these emotions, and any in between, is valid to me... I work on many canvasses at once. In the morning I line them up against the wall of my studio. Some speak, some do not. They are my mirrors. They tell me what I am like at that moment.”

William Baziotes

I Cannot Evolve Any Concrete Theory, William Baziotes, in Possibilities, Vol. I, no. 1, New York, winter 1947-48, p. 2
1940s

Painting

“I can not evolve any concrete theory about painting. What happens on the canvas is unpredictable and surprising to me.”

William Baziotes

Source: Posthumous quotes, Abstract Expressionist Painting in America, (1983), p. 135 : original source: 'Willem de Kooning', in 'Moma Bulletin' pp. 6,7

Painting

“Its decadence, satiety, and languor [of Roman civilization] interested me. And I kept looking and returning to their wall paintings with their veiled melancholy and their elegant plasticity. I admired the way they used their geology in their art — the sense of mineral, clay. rock, marble, and stone.”

William Baziotes

from his letter to Alfred H. Barr, Jr. 6 November, 1955; as cited in the text of 'The Baziotes Memorial Exhibition' and its accompanying catalogue by Lawrence Alloway; Solomon R. Guggenheim Museum 1965, p. 11
1950s

Art , Way , Sense , Painting

“Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.”

William Baziotes

Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69
1950s

Death , Beauty , Art , Painting

“My whole intention in painting is to make a thing poetical; but not poetical in a literary sense. I want something that evokes mood, a background, a stage set for certain characters that are playing certain parts. When I paint I do not consider myself an abstractionist in the sense that I'm trying to create beautiful forms that fit together like a puzzle. The things in my painting are intended to strike something that is an emotional involvement – that has to do with the human personality and all the mysteries of life, not simply colors or abstract balances. To me, it's all reality.”

William Baziotes

Quote from An interview with William Baziotes, eds. P. Franks and M. White, Perspective no. 2, Hunter College New York (1956-57), pp. 27, 29-30
1950s

Life , Beauty , Color , Mood

“In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings.”

William Baziotes

from the catalog of the traveling exhibition 'Nature in Abstraction', Whitney Museum of modern Art, 1958, p. 61
1950s

Feeling , Nature , Painting