Painting Quotes - page 67
Moonlight on canvas, midnight and wine,
Two shadows starting to softly combine.
The picture they're painting
Is one of the heart;
And to those who have seen it,
It's a true work of art.Oh, the red strokes,
Passions uncaged;
Thundering moments of tenderness rage.
Oh, the red strokes,
Tempered and strong (Fearlessly drawn),
Burning the night like the dawn.
Garth Brooks
I have a whole series of pictures that are, I mean in a sense, landscapes. Well, I wouldn't hold the landscape in front of me and translate it more abstractly into the painting, no. But I would - again in that American expedient thing you [Barbara Rose, earlier in the interview] were talking about - thinking ideas in my language. Sort of like today. 'Hm, bunch of roses', hm. 'Flags out the window', hm.... But once it got down on the surface I would say in 99 times out of a 100, out of 101, nobody would come along and say how come you put 'shoes' in a picture. I mean it would be too brown or too green.
Helen Frankenthaler
So I would say, blanket, from the time I was 17 until I was 20 [1945-48] when I graduated from Bennington [Art College] as far as painting went I had a depth analysis of what made Cubism work and its revolution, and all it opened up. And in history it was just the right moment to get it.... I did in my senior show two little pictures that are every bit as good, though I think ex post facto, nothing can be every bit as good ever - the way the best 'drip' Pollock made four years later than the best drip Pollock is not good -. But I could do Braque-s and Picasso-s that were angelic and completely understood, I mean really. I mean Paul [ [Paul Feeley ] really honored me and by that time it was a friendship, it wasn't a --. I mean our lives were in each other.
Helen Frankenthaler
It was as if I suddenly went to a foreign country but didn't know the language, but had read enough and had a passionate interest, and was eager to live there, I wanted to live in this land; I had to live there, and master the language. [reacting on Pollock's 'Black and White' paintings show in 1951; Frankenthaler saw his painting art then for the first time in her life].
Helen Frankenthaler
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
![I think working on the floor [Helen started 1951-52] came from Pollock. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. And the whole idea of the painting being in a sense choreographed came from him, and that once one made a move toward the canvas surface that there was a dialectic and the surface gave you an answer back, and you gave it an answer back. But that was a Pollock notion of --.... That your plans made accidents, demanded something else and then something else hinged on something else.. (Helen Frankenthaler)](https://cdn.quotesdtb.com/img/quotes_images_webp/06/helen-frankenthaler-answer-bottom-520106.webp)
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
I find it hard living on my own, but I imagine I would find it difficult not living on my own. Perhaps I could still change my mind. That's everyone's drama. We all make different compromises. And, no, I don't regret not having children. Given my painting, children could have suffered. A mother must make her children come first: young children are helpless. Well, paintings are objects but they're also helpless.
Helen Frankenthaler
