Exhibition Quotes - page 2
I have had a long talk with Renoir. He admitted that the whole crowd – Durand and his former admirers – were shouting at him, deploring his attempt to abandon his 'Romantic' period. He seems very sensitive to what we think of his exhibition. I told him that as far as we were concerned, the search for unity should be the aim of every intelligent artist. – that even in spite of serious faults, it was more intelligent and artistic than wallowing in romanticism.
Camille Pissarro
I shall in future be obliged to resign myself to exhibiting them (her paintings) merely at the Grand Salon, Paris, of which I happen to be an Associate and the Salon de Tuileries known all over the world as the representative exhibition of Modern Art, and to which I have been invited to participate in the past, a distinction I may add that few can boast of.
Amrita Sher-Gil
When the Surrealist exhibition [in London, 1936] was held Barbara [Hepworth] was by then married to [the sculptor] w:Ben Nicholson, they were strongly against it [against Surrealism ], though I felt, and feel, that there needn't be the sort of division in art that sprang up then. And Ben had also been much influenced by Mondrian. He was devoted to abstract art and she became much more interested in the abstract form. But for me, the essence of sculpture has always been the human figure. Still, of course, one kept in touch and one met and one's paths crossed.
Henry Moore
At that time (last Spring) I did not consider this medium to be of any signal importance in the world of art; merely a very amusing stunt cleverly executed.... However, wishing to return to Paris, I felt it would be quite justifiable to have an exhibition here, where "clever stunts" are highly appreciated, so I came over 3 months ago and set to work, carving wood and twisting wire. These new studies in wire, however, did not remain the simple modest little things I had done in New York. They are still simple, more simple than before; and therein lie the great possibilities which I have only recently come to feel for the wire medium.
Alexander Calder
Well, it's the only picture I ever wanted to own ['Three Bathers' of Cézanne ]. It's a Cézanne and the joy of my life. I saw it about a year ago in an exhibition and I was stunned by it. I didn't sleep for two or three nights trying to decide whether to.. .To me it is marvelous. Monumental.. .It's not perfect, it's a sketch. But then I don't like absolute perfection. I believe one should make a struggle towards something one can't do rather than do the thing that comes easily. Perhaps another reason is why I fell for it is that the type of woman he portrays is the same kind as I like. Each of the figures I could turn in into a piece of sculpture, very simple. Not young girls but that wide, broad, mature woman. Matronly.
Henry Moore
During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine 'Veshch' (Gegenstand) [= Object] (first pro-Soviet edition). [I] Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam. My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition. At this time, in 1923, I contracted pulmonary tuberculosis.
El Lissitsky
In 1935 I was appointed leading artist of the All-Soviet Agricultural Exhibition. I opposed the errors of the first leader, and resigned. Afterwards, while I was still in the sanatorium, I took over the design of the main building. The design of the main hall has been done according to my idea until now. From 1931 on, I was leading artist-architect of the 'Permanent Building Exhibition'. But as the years went by, my health deteriorating, I had less and less energy left for this type of commission, such as the realization of large-scale exhibitions. I still succeeded in designing the project for the museum-exhibition of the Ministry of 'Social Security'.
El Lissitsky
Back in Moscow in 1925 - teacher at 'Vchutemas' of interior design and furniture at the faculty of wood and metalwork. In 1926 my most important artistic work began: designing exhibitions. In that year I was invited by the committee of the International Exhibition of Art in Dresden to design the space for contemporary art. Was sent abroad for by 'VOKS.
El Lissitsky
[I] Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I traveled more than 1200 km in Italy on foot, learning and drawing. In 1912 my works were accepted for the first time at the large exhibition in Petersburg. From 1915 in I lived in Moscow, exhibiting each year.
El Lissitsky
![Picasso was wild about it and said it was one of the best things I have ever made. [on Miro's exhibition in Paris, 1938 where he showed a big frieze, made for a children's room; commissioned by art-dealer Pierre Matisse in New York]. (Joan Miró)](https://cdn.quotesdtb.com/img/quotes_images_webp/91/joan-mir-best-big-474691.webp)
One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.
Karel Appel
With this new tendency [of Orphism] the Cubists dubbed Impressionism of forms according to Appolinaire, is entering a final and glorious phase:.. Orphism, pure painting, simultaneity. And there you have it, as many obvious plagiarisms of what has formed, from its earliest appearances, the essence of Futurist painting and sculpture.... But we insist on sorting things out. Orphism [initiated by former Cubist artist Robert Delaunay as an colorful alternative for strict Cubism ], let us say it right away, is just an elegant masquerade of the basic principles of Futurist painting. This new trend simply illustrates the profit that our French colleagues managed to driver from our first Futurist exhibition in Paris.
Umberto Boccioni
From our very first conversation in the Closerie des Lilas the day after the opening of the first exhibition of Futurist painting [in Paris, February 1912] I noticed that Fernand Léger was one of the most gifted and promising Cubists... Léger's article ('Les origins de la peinture et sa valeur representative', Mai 1913) is a true act of Futurist faith which give us great satisfaction - all the more so since the author is kind enough to mention us.
Umberto Boccioni
The first painting to appear with an affirmation of simultaneity was mine and had the following title: 'Simultaneous visions', [Boccioni painted in 1911]. It was exhibited in the galerie Bernheim in Paris, and in the same exhibition my Futurist painter friends also appeared with similar experiments in simultaneity.
Umberto Boccioni
My first concert - apart from Beethoven at School and Erik Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. 'Heal like with like' – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning.... or simply a revolutionary act. This was my first public Fluxus appearance.
Joseph Beuys
I was taken to see the World Exhibition in Moscow [in 1880]. I found it all very boring. But when I came to a section devoted to art – there were only paintings, and this was the first time of my life [Jawlensky was 16 years old] I had seen paintings – I was so deeply affected that it was a case of Saul becoming Paul. It was the turning point of my life. Even since then art has been my ideal, my holy of holiest, that for which my entire soul and my entire self yearn.
Alexej von Jawlensky
I exhibited three paintings at the Salon d'Automne exhibition [Paris], which is the most interesting exhibition I have seen until now. Much more interesting than the Secession [in München]. My paintings [two words cancelled] were noticed and praised by the art critics. I think I will be very famous here in a few years time. Reading my name in the newspapers and seeing people notice my paintings and write about them has given me new and strange joy. – Paris is a beautiful city. Why do you remain in the monotony of Munich's heavy atmosphere? Here one can find everything one desires. Everything is refined and has spirit and everyday one learns something new.. The French are more intelligent than I thought. They laugh a lot, but they understand better than the Germans what is refined, strange and outside the ordinary.
Giorgio de Chirico
![I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition... I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey... I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel.... joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke. (Max Pechstein)](https://cdn.quotesdtb.com/img/quotes_images_webp/36/max-pechstein-accord-altar-451336.webp)
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
.. that dizzy seething of forms and acoustic lights, rowdy and smelly [visible in the paintings at the Futurist exhibition, February 1912 in Paris].... to obtain this total painting which calls for the active cooperation of all the senses: painting of the plastic mood of the universal, you have to paint the way drunkards sing and vomit, sounds, noises and smells.
Carlo Carrà
This bubbling and whirling of forms and lights, composed of sounds, noises, and smells has been partly achieved by me in my 'Anarchical funeral' [the painting Carra painted ca 1910-1911, ed.].. ..by Umberto Boccioni in his 'States of Minds' and 'Forces of a Street' [both paintings Boccioni painted in 1911], by Russolo in 'Rebellion' (1911) and Severini in 'Pan-Pan [the first version, Severini painted in 1909-1911], paintings which were violently discussed at our first Paris exhibition in 1912.
Carlo Carrà
I was walking along the Boulevard des Italiens [in February 1912, during a group exhibition of Futurist painters in Paris] when, as I passed in front of a newspaper stand, I had the pleasant surprise of seeing on the front page of the Journal the reproduction of my picture 'The Funeral of the Anarchist Galli'.
Carlo Carrà
