Frank Stella Quotes

I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion.

People see so many things in the paintings. Although I never think of them, it charms me a little bit that people actually project actual scenarios on to the paintings. Hopefully that means that they have a little bit of life to them. Figuring out the rhythm, the structural element has been the key thing in this work, more than the color element. It really was the variety of different widths that lead to a certain movement, a rhythm. Otherwise I'd fall into anything that was too stripy or almost like bar codes, and it thwarted the natural flow of the painting.

A picture is what it is and I've never noticed that it helps to talk about them, or answer specific questions about them, much less volunteer information in words. It wouldn't make any sense to explain them. Kind of diminishes them. People always want to know when something was taken, where it was taken, and, God knows, why it was taken. It gets really ridiculous. I mean, they're right there, whatever they are.

I never had the... common anxiety as to whether abstract painting had a given 'meaning.

abstract art is not the creation of another reality but the true vision of reality.

Everyone wants to understand art. Why not try to understand the song of a bird? ...people who try to explain pictures are usually barking up the wrong tree.

The best way to begin is to say: Balthus is a painter of whom nothing is known. And now let us have a look at his paintings.

I often avoid using the terms 'figuration' and 'abstraction' because I've always tried to have it both ways. I want the experience of looking at one of my paintings to be similar to the process of making the painting - you go from the big picture to something very intense and detailed, and then back again.

I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.

At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you.

I prefer to leave the paintings to speak for themselves.

There are times when I prefer a cerebral moment with an artist, and I'll just enjoy the wit of a Picabia or a Duchamp. It amuses me that they thought that what they did would be a good way of making art.

I don't know why you'd want to say your work comes from nature, because art is related to perception, not nature. All abstract artists try to tell you that what they do comes from nature, and I'm always trying to tell you that what I do is completely abstract. We're both saying something we want to be true.

I am afraid that there are more people than I can imagine who can go no further than appreciating a picture that is a rectangle with an object in the middle of it, which they can identify.

I have painted portraits that to me are almost photographic. I remember hesitating to show the paintings, they looked so real to me. But they have passed into the world as abstractions - no one seeing what they are.

I want to touch people with my art. I want them to say "he feels deeply, he feels tenderly".

Art is to be admired rather than explained. The jargon of these sculptors is beyond me. I do not precisely know why I admire a green granite, female, apparently pregnant monster with one eye going around a square corner.

Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.

I want to make a picture that could stand on its own, regardless of what it was a picture of. I've never been a bit interested in the fact that this was a picture of a blues musician or a street corner or something.

The fact that for a long time Cubism has not been understood and that even today there are people who cannot see anything in it means nothing. I do not read English, an English book is a blank book to me. This does not mean that the English language does not exist. Why should I blame anyone but myself if I cannot understand what I know nothing about?" -Pablo Picasso.

No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.

Cubism is the art of depicting new wholes with formal elements borrowed not only from the reality of vision, but from that of conception.

A picture is not a window...an abstract refers to no reality but its own.

There is something wrong with a work of art if it can be understood by a policeman.

People will say things after a screening that it affects them in a certain way, which is why I don't like to explain what certain things are about. I want them to have that. It limits people's ability to understand something if I say it's "about this." That's happened to us a bunch on this.