Robert Motherwell quotes - page 2
I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling. I begin with shapes and colors which are not related internally nor to the external world; I work without images. Ultimate unifications come about through modulations of the surface by innumerable trials and efforts. The final picture is the process arrested at the moment when what I was looking for flashes into view.
Robert Motherwell
Plastic automatism.... as employed by modern masters, like Masson, Miro, [both artists of Surrealism] and Picasso, is actually very little a question of the unconsciousness. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century greatest formal inventions.
Robert Motherwell
The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.
Robert Motherwell
When I was young I was more obsessed with the materiality of things.... today I am more interested in air and atmosphere. This is why I deliberately treat space ambivalently. For example, an orange painting with white lines might be viewed as an orange wall with white lines, but the orange colour is no less atmospheric for all of that. It abounds white light, and the white line vibrate in a deep space, too, as well as an orange 'wall.
Robert Motherwell
[the process of painting.. ].. is conceived of as an adventure, without preconceived ideas on the part of persons of intelligence, sensibility, and passion. Fidelity to what occurs between oneself and the canvas, no matter how unexpected, becomes central.... the major decisions in the process of painting are on the grounds of truth, not taste...
Robert Motherwell
I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting... An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies...
Robert Motherwell
Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean'. I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean.... I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.
Robert Motherwell
And finally after months of really a cold war [between his father and him] he made a very generous agreement with me that if I would get a Ph. D. so that I would be equipped to teach in a college as an economic insurance, he would give me fifty dollars a week for the rest of my life to do whatever I wanted to do on the assumption that with fifty dollars I could not starve but it would be no inducement to last. So with that agreed on Harvard then - it was actually the last year - Harvard still had the best philosophy school in the world. And since I had taken my degree at Stanford in philosophy, and since he didn't care what the Ph. D. was in, I went on to Harvard.
Robert Motherwell
I hung Baziote's [painting] show with him at Peggy's in 1944. After it was up and we had stood in silence looking at it for a while, I noticed he had turned white... Suddenly he [Baziotes] looked at me and said: 'You're the one I trust; if you tell me the show is no good, I'll take it right down and cancel it.'.... you see, at the opposite side of the coin of the abstract expressionist's ambition and of out not giving a damn, was also not knowing whether our pictures were even pictures, let alone whether they were any good...
Robert Motherwell
You let the brush take over and in a way follow its own head, and in the brush doing what it's doing, it will stumble on what one couldn't by oneself... It's essential to fracture influences in the same way that free association in psychoanalysis helps to fracture one's social self-deceptions.
Robert Motherwell
![We [the American Abstract-expressionist artists of the 1940's] were formed by the Depression [1930's], when the American dream lay in pieces on the floor. The possibility of making money was inconceivable to us. America was innocent in relation to modern art, and no one cared. The reigning painters in America were very parochial in relation to the international tradition... What held us together was our ambition to use the standards of international modernism as a gauge, not those of Thomas Hart Benton or Grant Wood or Guy Pene du Bois. We did have a terrible struggle, but not for success. It was to make painting that would stand up under international scrutiny, and all the rest was a byproduct. (Robert Motherwell)](https://cdn.quotesdtb.com/img/quotes_images_webp/37/robert-motherwell-ambition-american-455137.webp)
Here we are at the antipode of automatism [invention from Surrealism] and mechanism, and no less distant from the cunning way of reason. In the action of the machine, in which everything is repeated and predetermined, accident is an abrupt negation.... [the] excess of ink flowing capriciously in thin black rivulets.... this line deflected by a sudden jar, this drop of water diluting a contour – all these are the sudden invasion of the unexpected in a world where it has a right to its proper place.
Robert Motherwell
Here we are at the antipode of automatism [invention from Surrealism] and mechanism, and no less distant from the cunning way of reason. In the action of the machine, in which everything is repeated and predetermined, accident is an abrupt negation.. .. [the] excess of ink flowing capriciously in thin black rivulets.. ..this line deflected by a sudden jar, this drop of water diluting a contour – all these are the sudden invasion of the unexpected in a world where it has a right to its proper place. [Motherwell is quoting here the comments of w:Henri Focillon on Japanese legends of 'accidentalism'].
Robert Motherwell
