“I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictures. I will probably go on doing so... Orchestral. My work in its entirety is like a symphony in which each painting has its part.”

— Clyfford Still

Gallery Notes, Allbright-Knox Art Gallery, Vol. 24 summer 1961 pp. 9-14; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 197
1960s

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 "I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictur…" by Clyfford Still?

Clyfford Still15

American artist 1904–1980

Related quotes

“I don't like that word 'finish'. When something is finished, that means it's dead, doesn't it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.”

Arshile Gorky (1904–1948) Armenian-American painter

quote of 1948
1942 - 1948
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p 32

“I really learned how to look at art.... before 1960. And in a sense that sharpened my eye for abstract pictures. Because, it's light in the painting that makes it work. It's light in the painting that makes it work.”

Helen Frankenthaler (1928–2011) American artist

quote about the role of light
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“The world doesn't make sense, so why should I paint pictures that do?”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

“I had to go to the Bauhaus to the basic course that was given by Itten. And I submitted to that although I was a little older than Itten. But I have not the best memories of my studies there. So when that course was over everyone had to exhibit his work and then it was decided whether or not one could continue. I was accepted to continue. But I wanted to go into a workshop and I wanted to make stained glass. That was my old dream. Glass pictures. But Itten thought I was not ready for that. Certainly to delay my study in glass, Itten said, 'Glass painting is a branch of wall painting and you should go first to our wall painting workshop,' And I said, 'That's nonsense. Wall painting has to do with reflected light and glass painting with direct light.' So I said 'Sorry, I'll do my own stuff on my own.”

Josef Albers (1888–1976) German-American artist and educator

I had no money. Just a Rucksack and a hammer. And I started these assemblages. That was in 1921, But in all books on assemblages these things are not mentioned.
Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“My first photo Picture? I was doing large pictures in gloss enamel... One day a photograph of Brigit Bardot fell into my hands, and I painted it into one of these pictures in shades of grey. I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic.... thing that everyone could do.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 43, note 36 : quote on his start with photography

“Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off.”

Per Kirkeby (1938–2018) Danish artist

Source: 1965 - 1995, Bravura', Per Kirkeby, (1982), chapter 'Caption', pp. 83-84

“To occupy my imagination, which has been depressed by dwelling on my misfortunes, and to compensate at least in part for some of the considerable expenses I have incurred, I set myself to painting a series of cabinet pictures.... they depict themes that cannot usually be dealt with in commissioned works, where 'capricho' [whim] and invention do not have much of a role to play. I thought of sending them to the academy..”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

letter to his friend Bernardo de Iriarte, deputy of the Royal Academy of San Fernando in Madrid, Jan. 1794; as quoted in 'Goya and Iriarte', in Goya his Life and Work, P. Gassier and J. Wilson, 1971, p. 382
cabinet paintings were small portable paintings, which did not need a lot of wall-space and could be moved around at the owner's whim. Goya's famous series 'Caprichos' really begin after physical and probably mental breakdown in 1792. He was 46, and thereafter deaf until his death in 1828
1790s

“What I really want to do, it seems, is to paint a single form in the middle of a canvas... That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.... I became signs. Exactly.... It seemed to become signs and symbols and I don't like signs.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 95

“The real horror is mass production. Painting when there is no compulsion to do so… …Pictures like that are all unpunished crimes.”

Bram van Velde (1895–1981) Dutch painter

short quotes, 3 April 1972; p. 86
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

“I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictures. I will probably go on doing so... Orchestral. My work in its entirety is like a symphony in which each painting has its part.”

Help us to complete the source, original and additional information

Clyfford Still15

Related quotes

Related topics