“A painting grows like a plant. Use all colours, all shapes. Everything that attracts and excites me is a part of me. Painting is about proportions, relationships which breathe life. "Painting is a harmony which runs parallel to nature."”

Mustique (2002)

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 "A painting grows like a plant. Use all colours, all shapes. Everything that attracts and excites me is a part of me. Pa…" by Stefan Szczesny?

Stefan Szczesny8

German painter and sculptor 1951

Related quotes

“Painting, which is essentially a rhythmic harmony of coloured spaces.”

Arthur Wesley Dow (1857–1922) painter from the United States

Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, Boston (1899)

“I worked for months on this painting [title 'The Stone-wheelbarrow of C. Adema', 1977], for instance that well-bucket on the wheelbarrow I painted a twenty times or more, and it is constructed exactly as nature has shaped it. I want to make it harder and harder for myself. 'That's how it is' doesn’t exist for me. Deepening, that's what it is all about. My wish is to make in due time a small painting in which I can hardly discover any longer that it is painted, that it is just there, like that. Just something very simple.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Maandenlang heb ik aan dit schilderij [titel: 'De steenkruiwagen van C. Adema', 1977] gewerkt en die putemmer bijvoorbeeld op de kruiwagen, heb ik wel twintig keer geschilderd en is precies zo opgebouwd als de natuur hem gevormd heeft. Ik wil het mezelf steeds moeilijker maken. Zo kan het wel – bestaat niet voor mij. Verdieping, daar gaat het om. Ik wil nog eens een keer een schilderijtje zo maken, dat ik haast niet meer kan zien dat het geschilderd is, dat het er gewoon is, zo, zonder meer. Iets heel eenvoudigs.
Source: Jopie Huisman', 1981, p. 80

“The 'Women' [paintings] had to do with the female painted through all ages, all those idols, and maybe I was stuck to a certain extent; I couldn't go on. It did one thing for me: it eliminated composition, arrangement, relationships, light – all this silly talk about line, colour and form – because that was the thing I wanted to get hold of.”

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. 45.
1960's

“The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural… Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.”

Ben Nicholson (1894–1982) British painter

"Notes on Abstract Art" in Herbert Read's Ben Nicholson: Paintings, Reliefs, Drawings (London, 1948)

“One sunny spring day I heard the music coming down Karl Johan [street] and it filled me with joy. The spring, the sun, the music, all blended together to make me shiver with pleasure. The music added colour to the colours. I painted the picture [his painting 'Music on Karl Johan'] allowing the colours to reverberate with the rhythm of the music. I painted the colours as I saw them at that moment.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote in 'Livsfrisen tilblivelse', Blomqvist, Oslo 1929, p. 12
1896 - 1930

“In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 9 : 'Notes from 1969'

“The truth [is in his paintings]... When they have a similar structure to and are organized in as truthful a way as nature. When I look out of the window, then truth for me is the way nature shows itself in its various tones, colours and proportions. That's a truth and has its own correctness. This little slice of nature, and in fact any given piece of nature, represents to me an ongoing challenge, and is a model for my paintings.”

Gerhard Richter (1932) German visual artist, born 1932

In an interview with Christiane Vielhaber, 1986; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 <br class="br">1980's

“The better artists are original and obdurate; they're the gravel in the pea soup. ln Jackson Pollock's painting the particularity, the immediacy, is the dripped paint, which remains dripped paint as a phenomenon, for all the beauty of the small shapes it makes it makes. The generality is in the scale or proportion and in the large shapes. It’s in the appearance of chaos. The gesture or the motion shown in the application of the paint varies from painting to painting from the particular to a middling generality. The size and the color generally occur in the middle between particularity and generality. At the same time as Pollock and since, almost all first-rate art has been based on an immediate phenomenon, for example the work of Dan Flavin and Larry Bell.”

Donald Judd (1928–1994) artist

Donald Judd (1987) Complete writings, 1975-1986. p. 35 : Cited in: Marjanovic, Marianne Berger. "To build new ways of talking about the work": Hovedbegreper i Donald Judds kunstteori." (2005).
1980

“When I started doing the 'Bursts' [paintings Gottlieb started c. 1958] I began to do part of the painting horizontally. It was necessary to do that because I was working with a type of paint which had a particular viscosity, which flowed, and if it were on a vertical surface it would just run. If it were on a horizontal surface, I could control it… I was using a combination of brushes and knives, palette knives… and spatulas… I’ve tried everything, rollers, rags, I’ve put paint on with everything.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

“Man is not supposed to make life. Only God can make a tree. Why should you make a living organism? You should make images of living organisms. It seems presumptuous to attempt to make a thing which breathes and pulsates right there by itself. It's unnatural. What's inhuman about it is, the human way to create, I think, the way we see, from part to part. You do this and then you do that, then you do that and that. Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where even though you naturally have to paint, after all a painting is only a painting, the painting is always saying, what do you want from me, I can only be a painting, you have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point That's some kind of a leap.... I'm describing the process of painting.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 68/69

“A painting grows like a plant. Use all colours, all shapes. Everything that attracts and excites me is a part of me. Painting is about proportions, relationships which breathe life. "Painting is a harmony which runs parallel to nature."”

Help us to complete the source, original and additional information

Stefan Szczesny8

Related quotes

Related topics