Robert Motherwell Quotes

......so called “composition” becomes a personal thing, to be developed along with technique, as a personal way of seeing.

Children should learn to draw as they learn to write, and such a mystery should not be made of it. They should be encouraged, not flattered... then [later in life] double the effort is required to get the facility which might have been gained insensibly.

When we teach a child to sing or play the flute, we teach her how to listen. When we teach her to draw, we teach her to see. When we teach a child to dance, we teach him about his body and about space, and when he acts on a stage, he learns about character and motivation. When we teach a child design, we reveal the geometry of the world. When we teach children about the folk and traditional arts and the great masterpieces of the world, we teach them to celebrate their roots and find their own place in history.

When a painting is finished, it's like a new born child, and the artist himself must have time for understanding. How then do you expect an amateur to understand that which the artist dos not yet comprehend.

When I submitted samples, I had only written stories to give myself something to draw. I was told, "The art is good, but not quite professional yet. But, I like the writing." I've been a writer for almost a half a century. It's very cool.

I think it was Henry Moore who was asked where he got his ideas for his sculptures, and he said something like, "I continue to do as an adult the things I did as a child." I think that's what art is about.

I had no idea what art was. There was one art class in high school, but it didn't make a big impression on me. Then I went to college and thought I'd become a writer.

Why not spend that time on art: painting, sculpting, charcoal, pastel, oils? Are words or numbers more important than images? Who decides this? Does algebra move you to tears? Can plural possessives express the feelings in your heart? If you don't learn art now, you will never learn to breathe!

My objective in teaching my pupils is that they should be fitted for any kind of art.

A painter was asked why, since he made such beautiful figures, which were but dead things, his children were so ugly; to which the painter replied that he made his pictures by day, and his children by night.

The whole point of art school is that you're going to be able to have nudes all day long and a teacher who is there to move you. It's great.

Criticism? An artist wants praise. Praise.

I don't think he (Joseph Albers, fh) ever realized that it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended.. ..I was very hesitant about arbitrarily designing forms and selecting colors that would achieve some predetermined result, because I didn't have any ideas to support that sort of thing - I didn't want color to serve me, in other words.

How hard would it be to ask children what they see in their heads? How big should the house be in comparison to the family standing in front of it? What is it about the anatomy of the people that doesn't look right? Then let them try it again. Teach them to learn how to see and ask questions.

It's instinctive in a certain kind of painting...It's like a nervous system. It's not described, it's happening. The feeling is going on with the task. The line is the feeling, from a soft thing, a dreamy thing, to something hard, something arid, something lonely, something ending, something beginning.

You think you photograph a particular scene for the pleasure it gives. In fact it's the scene that wants to be photographed. You're merely an extra in the production.

A subject that is beautiful in itself gives no suggestion to the artist. It lacks imperfection.

The things I felt... about certain painters of the past that... inspired me, like Cezanne and Manet... that complete losing of oneself in the work to such an extent that the work itself... felt as if a living organism was posited there on the canvas, on this surface... That's truly... the act of creation.

If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.

Titian, Tintoretto, and Paul Veronese absolutely enchanted me, for they took away all sense of subject... It was the poetry of color which I felt, procreative in its nature, giving birth to a thousand things which the eye cannot see, and distinct from their cause.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

If you're going to be an artist, all life is your subject. And all your experience is part of your art. A youngster told me recently that he was going to give himself a year to see if he has talent. A year! It takes a lifetime to see if you have it. Painting is total engagement.

To paint is not to copy the object slavishly, it is to grasp a harmony among many relationships.

I photograph continuously, often without a good idea or strong feelings. During this time the photos are nearly all poor, but I believe they develop my seeing and help later on in other photos. I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.

The artist uses his reason to discover an answering reason in everything he sees.