“I think they [the public] should not look for, but look passively — and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for... and I think the unconsciousness drives do mean a lot in looking at paintings... I think it should enjoyed just as music is enjoyed — after a while you may like it or you may not. But it doesn't seem to be too serious. I like some flowers, and others, other flowers I don't like. I think at least it gives — at least give it a chance.”

Source: 1950's, Interview by William Wright, Summer 1950, pp. 139-140

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 think they [the public] should not look for, but look passively — and try to receive what the painting has to offer a…" by Jackson Pollock?

Jackson Pollock33

American artist 1912–1956

Related quotes

“Look, Maria. I know what you're thinking. I don't bring girls that look like you home to the Palace of Wisdom. But that doesn't mean you can't dream about it.”

John Hennigan (1979) American professional wrestler

The Palace Of Wisdom

“No matter what you look like, you should be taken seriously. I think it’s really great to be able to be a feminist, and be feminine. To embrace both.”

Meghan, Duchess of Sussex (1981) American former actress and member by marriage of the British royal family

Prior to royal marriage, Larry King Live interview

“Outside the big idea that there is art I don't think of other's paintings. But I defend the idea of art and know that it is made up of all these paintings. Classic pictures are objects that may or may not influence what you're doing, just like anything else. Like the radio... But it hasn't anything to do with your own art or the artist's intention.”

Robert Rauschenberg (1925–2008) American artist

1950's, Is today's artist with or against the past, (1958)

“I’m not conscious, what I’m really trying to do when I shoot a movie. I was just looking at it as more or less like a toy, something which I like to play with and try to impress people. I think that is actually something not so bad. I mean like doing it for the fun of it, instead of doing it as a real sacred job. I think it should be both.”

Ann Hui (1947) Hong Kong film director

as a comparison of her artistic filmmaking ethos in relation to the Hong Kong New Wave and the Taiwanese New Wave <br class="br"> In Conversation with Ann Hui & Man Lim Chung | SGIFF 2020 - 15 Dec 2020 at 39 Min 32 Sec https://www.youtube.com/watch?v=fT-7lyGwm5k <br class="br">Interview at the 31st Singapore International Film Festival

“Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He’s working with paint, not nature; he’s making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I’m using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“I paint directly – then it's said to be an exact copy; and not art, probably because there's no perspective or shading. It doesn't look like a painting of something, it looks like the thing itself. Instead of looking like a painting of a billboard – the way a w:Reginald Marsh would look – Pop Art seems to be the actual thing. It is intensification, a stylistic intensification of the excitement which the subject matter has for me; but the style is, as you said, cool.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“What interests me is to paint the kind of anti-sensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward — neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.”

Roy Lichtenstein (1923–1997) American pop artist

Quote of Lichtenstein in: Interview by G.R. Swenson (1963); as quoted in Painters on Painting, Eric Protter (1971) p. 263
1960's

“I think that I painted an accurate picture of what life was like for someone like Billy forty years ago. Looking back, maybe I was not as sympathetic as I could have been to some of the adult characters.”

Barry Hines (1939–2016) British author

On A Kestrel for a Knave
Barry Hines Interview: Homecoming Hero

“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 (1904–1997) Dutch painter

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

“… 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

Help us to complete the source, original and additional information

Jackson Pollock33

Related quotes

Related topics