„I maintain that the frustration is an important, almost crucial, ingredient. I think that the best painting involves frustration. The point about the late Rembrandt [paintings] is not that it's satisfying but on the contrary that it is disturbing and frustrating. Because really, what he [Rembrandt] has done is to eliminate any plane - anything between that image and you. The Van Dyck [portrait] hasn't. It says [only] I'm a painting. The Rembrandt says: I am not a painting, I am a real man. But he is not a real man either. What is it then, that you are looking at?“

—  Philip Guston, p. 97
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Philip Guston
1913 - 1980
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„I paint myself because I am so often alone and because I am the subject I know best.“

—  Frida Kahlo Mexican painter 1907 - 1954
Quoted from: Antonio Rodríguez, "Una pintora extraordinaria," Así (17 March 1945)

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„There he Rembrandt stood, when everything was on the canvas [of the 'Night Watch'], but then he shook his head.... In his opinion the two men [in the center of the painting: Frans Banning Cocq and Willem van Ruytenburch did not yet come forward into the foreground. Then he [Rembrandt] took up his large palette again, dicked his thickest brushes deep into the paint, and once again took on these two front figures with powerful strokes; here more depth, there more light. In this way he put everything to the test, in order to give an even more powerful relief to what needed to stand out. Then he saw that it was good, and that is how he left it. (translation from the original Dutch: Fons Heijnsbroek)“

—  Jozef Israëls Dutch painter 1824 - 1911
version in original Dutch (citaat van Jozef Israëls in Nederlands): Daar stond hij, de groote meester, toen alles op het doek aangebracht was, wat er op moest; maar hij schudde het hoofd. Naar zijne meening kwamen die twee mannen [Frans Banning Cocq en zijn luitenant Willem van Ruytenburch] nog niet genoeg vooruit naar den voorgrond. Toen nam hij nog eens zijn groote palet en zijn breedste penseelen doopte hij nog eens diep in de verf en deze twee voorste figuren werden nog eens met krachtige zetten aangepakt; hier meer diepte, daar nog meer licht en zoo beproefde hij alles om een nog kraniger relief te geven aan datgene, wat vooruitspringen moest. Toen zag hij dat het goed was en zoo liet hij ze staan. Quote of Jozef Israëls, 1906; in his writing 'Rembrandt', in De Gids 3. 1906, p. 1-13, esp. 7 Israëls himself painted many of his works in late-nineteenth-century rembrandt-like dark's and lights, for instance in his variation on Rembrandt's 'Jewish Bride' https://upload.wikimedia.org/wikipedia/commons/0/0c/Rembrandt_Harmensz._van_Rijn_-_Portret_van_een_paar_als_oudtestamentische_figuren%2C_genaamd_%27Het_Joodse_bruidje%27_-_Google_Art_Project.jpg: Jewish Wedding' https://en.wikipedia.org/wiki/Jozef_Isra%C3%ABls#/media/File:Isra%C3%ABls-A_Jewish_Wedding-1903.jpg,'A which Israels painted in 1903

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„I was at a point where I was ready to say I am what I am because of what I am and if you like me I'm grateful, and if you don't, what am I going to do about it?“

—  Anne Bancroft American actress 1931 - 2005
Interview on her role in the Broadway play "Two for the Seesaw". The New York Times (1958).

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