I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work in a certain kind of space through shape or color. I think all totally abstract pictures – the best ones that really come off – Newman, Pollock, Noland – have tremendous space; perspective space despite the emphasis on flat surface. For example, in Noland a band of yellow in relation to a band of blue and one of orange can move in depth although they are married to the surface. This has become a familiar explanation, but few people really see and feel it that way.... in my work, because of color and shape a lot is read in the landscape sense..
Helen FrankenthalerRelated topics
abstract band best blue certain color depth despite emphasis example explanation familiar few flat judge kind landscape married move off ones orange people perspective pollock read relation see sense shape space surface think way while work working yellow newman picturesRelated quotes
Suppose a surface to be part red and part blue; so that every point on it is either red or blue, and of course, no part can be both red and blue. What then, is the color of the surface in the immediate neighborhood of the point. ...it follows that the boundary is half red and half blue. In like manner, we find it necessary to hold that consciousness essentially occupies time... Thus, the present is half past and half time to come. ...Take another case: the velocity of a particle at any instant of time is its mean velocity during an infinitesimal instant in which that time is consumed. Just so, my immediate feeling is my feeling through an infinitesimal duration containing the present instant.
Charles Sanders Peirce
But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..
Franz Kline
I was able to compare the sexual equipment of the various men I made love with and there were amazing differences, in both length and massiveness. One handsome married man, who used to arrive with two Danishes from a very good bakery, had a penis about the size and shape of a lead pencil; he shall remain nameless. In my experience there was usually a relation to height, as Philip Rahv and Bill Mangold, both tall men, bore out. There may be dwarfish men with monstrously large organs, but I have never known one. It was not until later, after my second divorce, that I met an impotent man or a pervert (two of the latter)... None of my partners, the reader will be relieved to hear, had a venereal disease.
Mary McCarthy
Delacroix spoke of the Greek coin being built from the center out. Vermeer has painted in this way, according to the principles of mass... How beautifully they are drawn – Vermeer does not just make a leaf and place it in the design, he relates space and leaf. [in the painting of Vermeer: 'Allegory on the New Testament']. That drapery – it is abstract – observe how this shape [a space between a shepherd and the tree] curves around the center space while the tree counter-curves opposite it, cutting an egg shape.... the spaces on the carpet that carry no figuration are, in fact, shapes of vital importance in building the whole..
Arshile Gorky
Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty... I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German... What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?
Kurt Schwitters
