“I believe easel painting to be a dying form, and the tendency of modern feeling is toward the wall picture or mural..”

— Jackson Pollock

In his application for a grant given by the Guggenheim Foundation 1944; as quoted in Abstract expressionism, Barbara Hess, Taschen Köln, 2006, p. 9
1940's

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Jackson Pollock 33

American artist 1912–1956

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“Decoration. Very rapidly executed, at one go, spontaneously [reflection of making a mural on the site for the terrace plaza hotel in Cincinnati]. What takes a long time in my case is the work of silent reflection; it is impossible for me to predict the duration of this preparatory period. You have to keep in mind that it is by no means a matter of just doing a large picture, and though it will not be possible to paint a true mural by attacking the wall directly, in fresco, to do so will require persistence while maintaining, as much as possible, the spirit of the great tradition of mural painting. I shall have to go to Cincinnati in advance as soon as I can, to view the architecture and its environs, because otherwise I would only create an easel painting in large format.”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

In a letter to Pierre Matisse, 26 January 1946; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 70
1940 - 1960

“While I was still on the WPA I was submitting designs for the Section of Fine Arts competitions which I did on my own time. Burgoyne Diller gave me a mural to do in the Community Building of the Queensbridge Housing Project on Long Island. I worked on the design and cartoons for about a year. Everything was approved and the walls prepared - casein tempera painted on the wall…. [It was] about 1938. Holger Cahill asked me through Diller to do the outdoor facade mural of the WPA Building at the World's Fair. 1 stopped work on the Queens mural and began working on the Fair mural which was finished on schedule in time for the opening of the Fair.”

Phillip Guston (1913–1980) American artist

n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29

“I am trying to intensify my feeling for the organic rhythm in all things, trying to establish a pantheistic contact with the tremor and flow of blood in nature, in animals, in the air – trying to make it all into a picture, with new movements and with colours that reduce our old easel paintings to absurdity.”

Franz Marc (1880–1916) German painter

Quote in Marc's letter to the publisher Reinhard Piper, 1908, as cited in Letters of the great artists – from Blake to Pollock, ed. Richard Friedenthal, Thames and Hudson, London, 1963, p. 207
1905 - 1910

“Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here – is – away from the easel – into some sort, some kind of wall, wall painting…”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

“My painting does not come from the easel. I hardly ever stretch my canvas before painting. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. This is akin to the method of the Indian sand painters of the West.”

Jackson Pollock (1912–1956) American artist

Quote from 'Possibilities' Vol. 1, no 1, winter 1947-48, p. 79; as cited in 'Jackson Pollock: is he the greatest living painter in the United States?', in 'Life' (8 August 1949), pp. 42-45
1940's

“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

“It was very tiny, our house [ St. Prex ], and I had no room for my own, only a window, which I could call mine. But I was so gloomy and unhappy in my soul after all those dreadful experiences, that I was quite content to sit at the window and quietly collect my thoughts and feelings. I had a bit of paint but no easel, so I went into Lausanne – twenty minutes on the train – and bought a small easel from a photographer... It was highly unsuitable for painting but for more than twenty years I have painted my best work on that little easel”

Alexej von Jawlensky (1864–1941) Russian painter

in mainly small sizes
from: 'Lebenserinnerungen', 1938
This small house was in St. Prex, in Switzerland, lake Genova, where Jawlensky concentrated himself on the view around his house in the years after 1914.. ..he painted here more than 400 'Variations on a landscape theme', in St. Prex
Source: 1936 - 1941, Life Memories' (1938), p. 186

“Tolstoy deplored all the modern tendencies toward immense congregations of people in limited areas”

Robert Hunter (author) (1874–1942) American sociologist, author, golf course architect

Source: Why We Fail as Christians (1919), p. 78
Context: Tolstoy deplored all the modern tendencies toward immense congregations of people in limited areas, on the ground that they were making more and more impossible the truly Christian life. In cities the rich find little restraint to their lusts, while the lusts of the poor are greater there than in the country, and they satisfy them up to the limit of their means. In the country, Tolstoy could still see the possibility of men living a Christian life; in the cities he saw no such possibility. Cities had therefore to be uprooted and destroyed. The people had to get back to the soil.

“The business of art is no longer the communication of thoughts or feelings which are to be conceptually ordered, but a direct participation in an experience. The whole tendency of modern communication…is towards participation in a process, rather than apprehension of concepts.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Letter to Harold Adam Innis (14 March 1951), published in Essential McLuhan (1995), edited by Eric McLuhan and Frank Zingrone, p. 73
1950s

“It is from.... Renaissance that individualism in painting dates; and I do not believe there is any use in looking in this direction if we desire to bring into being a fresh mural art, one that shall be at once popular, collective and contemporary.”

Fernand Léger (1881–1955) French painter

Quote from The New Realism goes on, F. Léger, Art Front, February 1937 pp. 7-8
Quotes of Fernand Leger, 1930's

“I believe easel painting to be a dying form, and the tendency of modern feeling is toward the wall picture or mural..”

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Jackson Pollock 33

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