It is the poet and philosopher who provide the community of objectives in which the artist participates. Their chief preoccupation, like the artist, is the expression in concrete form of their notions of reality. Like him, they deal with verities of time and space, life and death, and the heights of exaltation as well as the depths of despair. The preoccupation with these eternal problems creates a common ground which transcends the disparity in the means used to achieve them.
—Mark Rothko, The Artist's Reality: Philosophies of Art (Yale Univ. Press, 2012)
Showing posts with label artist. Show all posts
Showing posts with label artist. Show all posts
nothing ever finished
Because nothing is ever finished
the painter would shuffle, bonnarding,
into galleries, museums, even the homes of his patrons,
with hidden palette and brush:
overscribble drapery and table with milk jug or fattened pear,
the clabbered, ripening color of second sight.
Though he knew with time the pentimenti rise—
half-visible, half brine-swept fish, their plunged shapes
pocking the mind—toward the end, only revision mattered:
to look again, more deeply, harder, clearer,
the one redemption granted us to ask.
This, we say, is what we meant to say. This. This.
—Jane Hirshfield, from “History as the Painter Bonnard,” The October Palace (Harper Perennial, 1994)
the painter would shuffle, bonnarding,
into galleries, museums, even the homes of his patrons,
with hidden palette and brush:
overscribble drapery and table with milk jug or fattened pear,
the clabbered, ripening color of second sight.
Though he knew with time the pentimenti rise—
half-visible, half brine-swept fish, their plunged shapes
pocking the mind—toward the end, only revision mattered:
to look again, more deeply, harder, clearer,
the one redemption granted us to ask.
This, we say, is what we meant to say. This. This.
—Jane Hirshfield, from “History as the Painter Bonnard,” The October Palace (Harper Perennial, 1994)
style is
Style is, above all, a system of forms with a quality and a meaningful expression through which the personality of the artist and the broad outlook of a group are visible.
—Meyer Schapiro, Theory and Philosophy of Art: Style, Artist, and Society (1994), p51
—Meyer Schapiro, Theory and Philosophy of Art: Style, Artist, and Society (1994), p51
to re-true
Seems to me, the true artist must perforce go from time to time to the elemental big forms—Sky, Sea, Mountain, Plain—and those things pertaining thereto, to sort of re-true himself up, to recharge the battery. For these big forms have everything. But to express these, you have to love these, to be a part of these in sympathy. One doesn’t get very far without this love.
—John Marin, The Selected Writings of John Marin, edited by Dorthy Norman (Pellegrini & Cudahy, 1949)
—John Marin, The Selected Writings of John Marin, edited by Dorthy Norman (Pellegrini & Cudahy, 1949)
not a parthenon
it is not the Parthenon
but a Vuillard small
as an Adam’s apple
where pain mounts and falls
—Frank O’Hara, Stones, 1957-60, a collaboration of lithographs by Larry Rivers & Frank O’Hara
but a Vuillard small
as an Adam’s apple
where pain mounts and falls
—Frank O’Hara, Stones, 1957-60, a collaboration of lithographs by Larry Rivers & Frank O’Hara
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