“For me, Still's pictorial dramas are an extension of the Greek Persephone myth. As he himself has expressed it, his paintings are 'of the Earth, the Damned, and of the Recreated'. Every shape becomes an organic entity, inviting the multiplicity of associations inherent in all living things. To me they form a theogony of the most elementary consciousness, hardly aware of itself beyond the will to live – a profound and moving experience. [in the catalogue introduction for the first one-man-show of Clyfford Still]”

— Mark Rothko

in Art of this Century, February 12 – March 2, 1946, Peggy Guggenheim Papers on the work of Clyfford Still; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 203
1940's

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "For me, Still's pictorial dramas are an extension of the Greek Persephone myth. As he himself has expressed it, his pai…" by Mark Rothko?

Mark Rothko36

American painter 1903–1970

Related quotes

“One thing is quite clear to me; all that is, lives and moves and has its being in consciousness and I am in and beyond that consciousness. (…)”

Nisargadatta Maharaj (1897–1981) Indian guru

Awareness and consciousness
Source: "I am That." P.91-2.

“Anything that we are aware of at a given moment forms part of our consciousness, making conscious experience at once the most familiar and most mysterious aspect of our lives.”

Max Velmans (1942) British psychologist

Susan Schneider and Max Velmans (2008). "Introduction". In: Max Velmans, Susan Schneider. The Blackwell Companion to Consciousness. Wiley.

“Words paint to the imagination but every man forms the thing to himself in his own way.”

Jonathan Richardson (1667–1745) English painter

Essay on the Theory of Painting (1725)

“Beyond all conscious lying and falsifying, there is a deeper “organic mendacity.” Here the falsification is not formed in consciousness, but at the same stage of the mental process as the impressions and value feelings themselves: on the road of experience into consciousness. There is “organic mendacity” whenever a man’s mind admits only those impressions which serve his “interest” or his instinctive attitude. Already in the process of mental reproduction and recollection, the contents of his experience are modified in this direction. He who is “mendacious” has no need to lie! In his case, the automatic process of forming recollections, impressions, and feelings is involuntarily slanted, so that conscious falsification becomes unnecessary.”

Max Scheler (1874–1928) German philosopher

Source: Das Ressentiment im Aufbau der Moralen (1912), L. Coser, trans. (1973), pp. 77-78

“… as a matter of fact it is nice to paint a happy picture after a sad one. I think there is a kind of loneliness in a lot of them which I don't think about as the fact that I'm lonely and therefore I paint lonely pictures, but I like kind of lonely things anyhow; so if the forms express that to me, there is a certain excitement that I have about that.... What I try to do is to create the painting so that the overall thing has the particular emotion; not just the forms in it.... in other words, there's a particular static or heavy form that can have a look to it, an experience that translated through the form; so then it does have a mood. And when that is there, well then it becomes it becomes a painting whereas all the other pictures that have far more interesting shapes and so on, don't become that to me.”

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

“.. the personification of the close-up detail, the individualisation of the fragment, where the drama takes shape, moves and have it being. Film concurs with this aspect for life. The hand is a multiple, transformable object. Before I saw it in a film, I did not know what a hand was! The object in itself is capable of becoming an absolute, moving, tragic thing.”

Fernand Léger (1881–1955) French painter

Quote from: 'L'ésthetique de la Machine - l'Ordre Géometrique et le Vrai', in Propos d’Artistes, 1925
Quotes of Fernand Leger, 1920's

“In the beginning was the myth. God, in his search for self-expression, invested the souls of Hindus, Greeks, and Germans with poetic shapes and continues to invest each child's soul with poetry every day.”

Hermann Hesse book Peter Camenzind

Variant translation: In the beginning was the myth. Just as the great god composed and struggled for expression in the souls of the Indians, the Greeks and Germanic peoples, so to it continues to compose daily in the soul of every child.
Peter Camenzind (1904)

“Every naturalism begins as involuntary naïveté. Initially, we cannot help thinking that the “order of things” is an objective order. For the first glance falls on the things and not on the “eyeglasses.” In the work of enlightenment, this first innocence becomes irretrievably lost. Enlightenment leads to the loss of naïveté and it furthers the collapse of objectivism through a gain in self-experience. It effects an irreversible awakening and, expressed pictorially, executes the turn to the eyeglasses, i. e., to one’s own rational apparatus. Once this consciousness of the eyeglasses has been awakened in a culture, the old naïveté loses its charm, becomes defensive, and is transformed into narrow-mindedness, which is intent on remaining as it is. The mythology of the Greeks is still enchanting; that of fascism is only stale and shameless. In the first myth, a step toward an interpretation of the world was taken; in simulated naïveté, an artful stupefaction (Verdummung) is at work—the predominant method of self-integration in advanced social orders.”

Peter Sloterdijk (1947) German philosopher

Source: Kritik der zynischen Vernunft [Critique of Cynical Reason] (1983), p. 59

“We may treat of the Soul as in the body — whether it be set above it or actually within it — since the association of the two constitutes the one thing called the living organism, the Animate.
Now from this relation, from the Soul using the body as an instrument, it does not follow that the Soul must share the body's experiences: a man does not himself feel all the experiences of the tools with which he is working.”

Plotinus (203–270) Neoplatonist philosopher

First Tractate : The Animate and the Man, §3
The First Ennead (c. 250)

“Thereupon he came in the appearance and the clothing of the man he was on that day when he first gave us his body, that appearance of a human being and a man, showing his sweet and beautiful and sorrowful face, and approaching me with the humility of the one who belongs entirely to another. Then he gave himself to me in the form of the sacrament, in the manner to which people are accustomed”

Hadewijch (1200–1260) 13th-century Dutch poet and mystic

Visions
Context: Then he came from the altar, showing himself as a child. And that child had the very same appearance that he had in his first three years. And he turned to me and from the ciborium he took his body in his right hand and in his left hand he took a chalice that seemed to come from the altar, but I know not where it came from. Thereupon he came in the appearance and the clothing of the man he was on that day when he first gave us his body, that appearance of a human being and a man, showing his sweet and beautiful and sorrowful face, and approaching me with the humility of the one who belongs entirely to another. Then he gave himself to me in the form of the sacrament, in the manner to which people are accustomed. Then he gave me to drink from the chalice in the manner and taste to which people are accustomed. Then he came to me himself and took me completely in his arms and pressed me to him. And all my limbs felt his limbs in the full satisfaction that my heart and my humanity desired. Then I was externally completely satisfied to the utmost satiation.

Help us to complete the source, original and additional information

Mark Rothko36

Related quotes

Related topics