“And I was painting and changing and developing and going through [c. 1950-52] that bridge from early Kandinsky and Gorky to my own [painting] thing. And just soaking up [Willem] de Kooning and [Jackson] Pollock... So I had the place to myself. And while Bill [= Willem] and Elaine [de Kooning] and Charlie [Egan] and such would maybe come to my studio, there was no thought,.... of my going in with those four or five young ones.”

—  Helen Frankenthaler

quote about her painting-years 1951-52
1960s, Interview with Barbara Rose', Archives - American Art, 1968

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Helen Frankenthaler 46
American artist 1928–2011

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“My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.... and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.... And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you."”

Lee Krasner (1908–1984) American artist

So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

“Bill [=Willem de Kooning ] was working on a huge canvas. It was black and white. And I said to him, 'It's very curious.' You know, I came into the studio. I had my separate studio and I walked in and I said, 'It's very curious. There are no treelike shapes in that painting. The forms are all like animals more or less and organic shapes that don't resemble the forest at all, but I get the feeling of Faulkner forest from that painting.' Bill said, 'That's extraordinary.' And he went over and lifted up a pile of papers and underneath was a book by Faulkner and later he named a painting 'Light in August”

Elaine de Kooning (1918–1989) American painter

he painted in 1946
1972 - 1989
Source: an tape-recorded interview with Elaine de Kooning on August 27, 1981 http://www.aaa.si.edu/collections/interviews/oral-history-interview-elaine-de-kooning-11999; conducted by Phyllis Tuchman, for the Archives of American Art, Smithsonian Institution: Oral Histories.

Karel Appel photo

“Willem de Kooning, they say, lost his memory. He lost his worldly memory. He lost the names of the people, he lost their faces... This is one of the reasons he paints as a real painter.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

“And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..”

Joan Mitchell (1925–1992) American painter

second side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Frank Stella photo

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“I admired [c. 1952-54] his [ Motherwell's] painting. But the rest of the painters I was involved with --. I mean I didn't know [Clyfford] Still either and therefore Still didn't come up in my life as much. But I liked to look at Still. And I went of course to all of his [Robert Motherwell's] shows. But Bill de Kooning and Jackson [Pollock] were all around all the time. And it wasn't just following a career and a gallery and a social scene then, and a party scene, and the peripheral part of it at all. And I knew Bob [Motherwell] not personally at all”

Helen Frankenthaler (1928–2011) American artist

till 1957-58
quote about several contemporary artists
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing... The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn’t have been using Duco [industrial paint, like Willem de Kooning did]. My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp [turpetine] – the way I use paint today... The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 77.

“I don't think of my work as calligraphic. Critics also describe Jackson and De Kooning as calligraphic painters but calligraphy has nothing to do with us. It's interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing. People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.”

Franz Kline (1910–1962) American painter

Quote, (1958)
1960's, Talks with Seventeen Artists, 1962

Hendrik Willem Mesdag photo

“And you know, if my wife haven't said some forty years ago: do it, let's go to Brussels to study painting, [with a. o. Willem Roelofs ], then I probably would never have left my business [in banking].”

Hendrik Willem Mesdag (1831–1915) painter from the Northern Netherlands

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Hendrik Willem Mesdag, in het Nederlands:) En zie je, als mijn vrouw zo'n veertig jaar geleden niet gezegd had: doe 't maar, laten we maar gaan naar Brussel om te gaan studeren in schilderen, bij o.a. nl:Willem Roelofs, dan was 'k waarschijnlijk nooit uit mijn zaken getrokken.

Quote of Mesdag; as cited by nl:Marie Joseph Brusse, in his article 'Onder de menschen. Een gouden schilders-bruiloft', in Nieuwe Rotterdamsche Courant', 11 March, 1906
after 1880

Willem de Kooning photo

“Certain artists and critics attacked me for painting the 'Women' [series of paintings, De kooning started in 1950], but I felt that this was their problem, not mine. I don’t really feel like a non-objective painter at all... It's really absurd to make an image, like a human image. With paint, today, when you think about it, since we have this problem of doing it or not doing it. But then all of a sudden it was even more absurd not to do it. So I fear I have to follow my desires.”

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

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