Ellsworth Kelly Quotes

26 Sourced Quotes

Simple, I don't like the word simple. I like easy better. I want to forget about the technique. I sweat and worry but I don't want it look like that; but you can't separate the artist and his technique.

Ellsworth Kelly
The most pleasurable thing in the world, for me, is to see something and then translate how I see it.

Ellsworth Kelly
I made the photographs just like I draw... I wanted the photographs [Kelly made circa 1950 in Paris] to be enlightening to my art..

Ellsworth Kelly
When I want to do a painting with one colour overlapping another, it has to be a real overlap, not a depicted overlap. I didn't want to paint an overlap, meaning that it would be a deception or illusion. I no longer wanted to depict space, but to make a work that existed in literal space. Thus, my recent works are one canvas as a relief over another canvas. Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White 1952. It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects.

Ellsworth Kelly
I'm interested in the mass and color, the black and the white, the edges happen because the forms get as quiet as they can be.

Ellsworth Kelly
I have worked to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it; so that it has a clarity and a measure within itself of its parts (angles, curves, edges and mass); and so that, with color and tonality, the shape finds its own space and always demands its freedom and separateness.

Ellsworth Kelly
In my painting, negative space is never arbitrary. (I believe lithographs to be colored marks printed on a ground – the paper and the measure of the ground and the marks are to be considered of equal importance). In my painting, the painting is the subject rather than the subject the painting.

Ellsworth Kelly
The three horizontal bands at the top [in his collage: landscape with paintings 1954] correspond to sea, sand and sky, while the yellow/white and red/white shapes at the bottom are the paintings – though of a kind I actually painted only later. It was the collage that suggested the idea of doing such paintings.

Ellsworth Kelly
Soon after completing the 'La Combe' series [circa 1950] I had a dream in which I was assisted by many children on a scaffold, painting a huge mural made up of square panels fitted together. Each panel was being painted by a child very quickly in long black strokes with huge brushes. The work was done in seconds. Upon waking I immediately made a reminder sketch of the mural. Later I made a drawing of many ink strokes, which I cut up into twenty squares and placed at random in a four-by-five grid..

Ellsworth Kelly
Looking through an aperture [a door or a window] is a way that I have been able to isolate or fragment a single form. My first memory of focusing through an aperture occurred when I was around twelve years old. One evening, passing the lighted window of a house. I was fascinated by red, blue and black shapes inside a room. But when I went up and looked in, I saw a red coach, a blue drape and a black table. The shapes had disappeared. I had to retreat to see them again.

Ellsworth Kelly
When I was a child, I spent all my spare time looking at birds and insects (beetles). My color use, and the object quality of the 'painting', and the use of fragmentation is closer to birds and beetles and fish, than it is to De Stijl or the Constructivists.

Ellsworth Kelly
Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous.

Ellsworth Kelly
This book [full of linoleum prints] will be an alphabet of pictorial elements without text, which shall aim at establishing a larger scale of painting, a closer contact between the artist and the wall, and a new spirit of art accompanying architecture.

Ellsworth Kelly
I like to work from things that I see, whether they're man-made or natural or a combination of the two... The things that I'm interested in have always been there. The idea of a shadow and a natural object has existed, like the shadow of the pyramids, or a rock and its shadow; I'm not interested in the texture of the rock, or that it is a rock, but in the mass of it, and its shadows.

Ellsworth Kelly
When I left Paris in 1954, I saw no art that was being 'made' like mine and returning to the U.S. I found no one 'making' art that way either. In my own work, I have never been interested in painterliness (or what I find is) a very personal handwriting, putting marks on a canvas. My work is a different way of seeing and making something and which has a different use.

Ellsworth Kelly
I made it from just three lines in less than a minute. It was the first of the series that got the weight right. My eye followed my hand. Then I did all the others, but this was the best.

Ellsworth Kelly
In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.

Ellsworth Kelly
There is always for me a dominant figure, I simply don't agree with people who see both readings as possible [of the figure and ground]

Ellsworth Kelly
I felt that everything is beautiful, but that which man tries intentionally to make beautiful; that the work of an ordinary bricklayer is more valid than the artwork of all but a very few artists.

Ellsworth Kelly
My work is about structure. It has never been a reaction to Abstract Expressionism. I saw the Abstract Expressionists for the first time in 1954. My line of influence has been the 'structure' of the things I liked: French Romanesque architecture, Byzantine, Egyptian and Oriental art, Van Gogh, Cézanne, Monet, Klee, Picasso, Beckman..

Ellsworth Kelly
My collages are only ideas for things much larger – things to cover walls. In fact all the things that I have done I would like to see much larger. I am not interested in painting as it has been accepted for so long – to hang on walls of houses as pictures. To hell with pictures – they should be the wall – even better – on the outside wall – of large buildings. Or stood up outside as billboards or a kind of modern 'icon'. We must make our art like the Egyptians, the Chinese & the African and the Island primitives – with their relation to life. It should meet the eye direct.

Ellsworth Kelly
Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.

Ellsworth Kelly
I usually let them [his drawings] lies around for a long time. I have to get to really like it. And then when I do the painting I have to get to like that too. Sometimes I stay with the sketch, sometimes I follow the original idea exactly if the idea is solved. But most of the time there have to be adjustments during the painting. Through the painting of it I find the color and I work the form and play with it and it adjusts itself.

Ellsworth Kelly
All the art since the Renaissance seemed too men-oriented. I liked (the) object quality. An Egyptian pyramid, a Sung vase, the Romanesque church appealed to me. The forms found in the vaulting of a cathedral or even a splatter of tar on the road seemed more valid and instructive and a more voluptuous experience than either geometric or action painting.

Ellsworth Kelly
Making art has first of all to do with honesty. My first lesson was to see objectively, to erase all 'meaning' of the thing seen. Then only, could the real meaning of it be understood and felt.

Ellsworth Kelly