Easel Quotes - page 2
.. I think the thing that hit me most of all [at the Pollock-show, 1951] was that while I knew it was a fact, it became a physical necessity to get pictures off the easel, and therefore for me not even on a wall but the reach or fluidity of working from above down into a field [so: on the floor].... But it really registered [later] when I saw his [Pollock's] studio and he unrolled his paintings on the floor that he had painted them on. Now I was never drawn to the idea of a stick dipped in a huge can. One thing I have never liked is a drip, I mean.. it's a kind of boring accident to me, a drip. There are many accidents that are very rich that you use, but if you exploit a drip it's very boring and familiar to begin with. Drips are drips. Whereas blocks have never been drips, and haven't been, but, people don't know blocks the way they know drips. And blocks can become lines, and drips become lines in a very facile, easy way.
Helen Frankenthaler
Very few people ever had the opportunity to see Cézanne at work, because he could not endure being watched while at the easel. For one who has seen him paint, it is difficult to imagine how slow and painful his progress was on certain days. In my portrait there are two little spots of canvas on the hand which are not covered. I called Cézanne's attention to them. "If the copy I'm making in the Louvre turns out well," he replied, "perhaps I will be able tomorrow to find the exact tone to cover up those spots. Don't you see, Monsieur Vollard, that if I put something there by guesswork, I might have to paint the whole canvas over starting from that point?" The prospect made me tremble.
During the period that Cézanne was working on my portrait, he was also occupied with a large composition of nudes, begun about 1895, on which he labored almost to the end of his life.
Paul Cézanne