“He [ Hans Hofmann one of her art teachers] would come up to me [1937-38], look at my work, and do a critique half in English and half in German, but certainly nothing I could understand. When he left the room I would call George McNeil, who was then the monitor, over and I would ask: 'What did this man say to me?' Hoffman was teaching Cubism and that was pretty exciting. Matisse and Picasso were my highlights. It was as though I was swinging between them. First I started to work with color and then there was a heavy swing toward the linear.”

— Lee Krasner

Source: Art Talk, Conversations with 15 woman artists 1975, p. 73.

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Lee Krasner 19

American artist 1908–1984

Lee Krasner (1908–1984) American artist

n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

“Do you remember when you were young, and you’d stare at someone on-stage and think ‘Oh my God—he looked right at me?’ I do, so I have this kind of rescue-fantasy thing. When I see kids in the audience I think, ‘Okay, that’s me, and it would be kind of cool if the person on-stage would come down and save me.’ I’m not going to be able to save every one of them, but I’ll do my best, because I genuinely like kids. If I didn’t have my lust for my art, I probably would have ended up working with them.”

Courtney Love (1964) American punk singer-songwriter, musician, actress, and artist

On her teenaged fans, interview with The Georgia Straight (1999)
1996–2005

“He was my mentor in a way -- as a musician and as a businessman. He came to Turkey once and saw me on stage performing, and then he came up to me and said, "You've got to call me." I said, I would love to. And that was the first thing I did when I came to New York. Then we did an agreement, a deal, with him for the English albums.”

Tarkan (1972) Turkish singer

About Ahmet Ertegün

“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

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

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

“When we first started, they basically went John and Paul's way because they were the writers and they would say, "This is the song," and I would play as creatively as I could. Sometimes I would have three people telling me how to do it. They were saying play it this like on that track. I'm saying, "For Christ's sake, there are two drummers there." They could never hear that, you know. You'd have to have four arms to do half the stuff they wanted me to do.”

Ringo Starr (1940) British musician, former member of the Beatles

Interview in Viva magazine (1978)

“Sometimes my sister and I dream of having a run-of-the-mill father. He would make coffee and toss salads. He would not prefer his work to us, and he would tell us instead: "How pretty you look, my dear, tell me what you did today." He would speak to us with words of affectionate banality.”

André Weil (1906–1998) French mathematician

Quote About

“And I rejoiced to think that I has found in Anaxagoras a teacher of the causes of existence such as I desired, and I imagined that he would tell me first whether the earth is flat or round; and then he would further explain that this position was the best, and I should be satisfied… and not want any other sort of cause. And I thought that I would then go and ask him about the sun and moon and stars, and he would explain to me their comparative swiftness, and their returnings and various states, and how their several affections, active and passive, were all for the best. For I could not imagine that when he spoke of mind as the disposer of them, he would give any other account of their being as they are, except that this was best; and I thought when he had explained to me in detail the cause of each and the cause of all, he would go on to explain to me what was best for me and what was best for all. …I seized the books and read them as fast as I could in my eagerness to know the better and the worse.”

Socrates (-470–-399 BC) classical Greek Athenian philosopher

Plato, Phaedo

“People sometimes ask what prior legal experience has been most useful for me as a judge. And I say, “I certainly draw on all of them,” but I also say that my five-and-a-half years at the White House and especially my three years as staff secretary for President George W. Bush were the most interesting and informative for me.”

Brett Kavanaugh (1965) Associate Justice of the Supreme Court of the United States

One Government, Three Branches, Five Controversies: Separation of Powers Under Presidents Bush and Obama, Brett M., Kavanaugh, Marquette Lawyer, Fall 2016 https://law.marquette.edu/assets/marquette-lawyers/pdf/marquette-lawyer/2016-fall/2016-fall-p08.pdf,

“Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs... It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw… I began feeling the need to break with what I was doing and to approach something else.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 74.

“This Sunday, for some reason, I had not gone to Church. All the rest of the house-party had gone and there was no one in the house but myself and the servants. I was sitting in the drawing-room reading. The door opened and in walked a tall man dressed in European clothes (very well cut, I remember) but with a turban on his head. He came in and sat down beside me. I was so petrified at the sight of the turban that I could not make a sound or ask what he was doing there. Then he started to talk. He told me there was some work that it was planned that I could do in the world but that it would entail my changing my disposition very considerably; I would have to give up being such an unpleasant little girl and must try and get some measure of self-control. My future usefulness to Him and to the world was dependent upon how I handled myself and the changes I could manage to make. He said that if I could achieve real self-control I could then be trusted and that I would travel all over the world and visit many countries, "doing your Master's work all the time." Those words have rung in my ears ever since. He emphasised that it all depended upon me…”

Alice A. Bailey (1880–1949) esoteric, theosophist, writer

Source: The Unfinished Autobiography (1951), Chapter I, Part 2

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