Willem de Kooning - Painting Quotes

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I admit I know little of Orient art. But that is because I cannot find in it what I am looking for, or what I am talking about. To me the Oriental idea of beauty is that 'it isn't there'. It is in a state of nor being there. It is absent. That is why it is so good. It is the same thing I don't like in Suprematism, Purism and non-objectivity... I do like the idea that they - the 'pots and pans' [pictured in the classic still life paintings], I mean – are always in relation to man. They have no soul of their own, like they seem to have in the Orient..

Willem de Kooning
I still think that Boccioni was a great artist and a passionate man. I like El Lissitsky's painting very much. But Mondrian that great merciless artist, is the only one who had nothing left over. The point they all had in common was to be both inside and outside at the same time. A new of likeness!... for me to be inside and outside is to be in an unheated studio with broken windows in the winter.

Willem de Kooning
Some painters [of the New York School], including myself, do not care what chair they are sitting on. It does not even have to be a comfortable one. They are too nervous to find out where they ought to sit. They do not want to sit in style. Rather, they have found that painting—any kind of painting, any style of painting—to be painting at all, in fact—is a way of living today, a style of living, so to speak. That is where they form of it lies. It is exactly in its uselessness that it is free. Those artists do not want to conform. They only want to be inspired.

Willem de Kooning
I think I would choose Soutine... I've always been crazy about Soutine - all of his paintings. Maybe it's the lushness of the paint. He builds up a surface that looks like a material, like a substance. There's a kind of transfiguration, a certain fleshiness in his work... I remember when I first saw the Soutine's in the Barnes Collection.... the Matisse's had a light of their own, but the Soutine's had a glow that came from within the paintings - it was another kind of light.

Willem de Kooning
But I find, because of modern painting, that things which couldn't be seen in terms of painting, things you couldn't paint.... it is not that you paint them, bit is the connection. I imagine that Cézanne, when he painted a ginger pot with apples, must have been very grotesque in his day, because a still life was something set up of beautiful things. It may be very difficult, for instance, to put a Rheingold bottled beer on the table and a couple of glasses and a package of Lucky Strike [cigarets]. I mean, you know, there are certain things you cannot paintat a particular time, and it takes a certain attitude how to see those things, in terms of art.

Willem de Kooning
I feel now if I think of it, it will come out in the painting. In other words, if I want to make the whole painting look like a bottle, like a lot of bottles - for instance maybe the end of the day, when everything is very light, but not in sunlight necessarily - and so if I have this image of this bottle and if I really think about it, it will come out in the painting. That doesn't mean that people notice a bottle, but I know when I succeed in it – then the painting would have this.

Willem de Kooning
The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.

Willem de Kooning
I met him [Gorky] in 1929. Of course I met a lot of artists, but then I met Gorky. Well I had some training in Holland, quite a training, you know, The Academy. And then I met Gorky [in New York], who didn't have that at all, he became from no place [Tiflis, Armenia]... And for some mysterious reason, he knew lots more about painting, and art, he just knew it by nature - things I was supposed to know and feel and understand - he really did it better. He had an extraordinary gift for hitting the nail on the head, very remarkable, so I immediately attached myself to him and we became very good friends.

Willem de Kooning
Well, now I can make some highways, maybe. Well, now I can set out to do it and maybe it will be a painting of something else. Because if you know the measure of something, for yourself... There's is no absolute measure that you can identify yourself. You can find the size of something. You say, now, that's just this length, and immediately with that length you can paint, well, a cat maybe. If you understand one thing, you can use it for something else. Well, that is the way I work... I get hold of a certain thing of area or measure or size and then i can use it. I mean, I have an attitude. I have to have an attitude.

Willem de Kooning
Certain artists and critics attacked me for painting the 'Women' [series of paintings, De kooning started in 1950], but I felt that this was their problem, not mine. I don't really feel like a non-objective painter at all... It's really absurd to make an image, like a human image. With paint, today, when you think about it, since we have this problem of doing it or not doing it. But then all of a sudden it was even more absurd not to do it. So I fear I have to follow my desires.

Willem de Kooning
I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea.

Willem de Kooning
But one day, some painter used 'Abstraction' as a title for one of his paintings. It was a still life. And it was a very tricky title. And it wasn't really a very good one. From then on the idea became something extra. Immediately it gave some people the idea that they could free art from itself. Until then, Art meant everything that was in it – not what you could take off it. There was only one thing you could take out of it sometime when you were in the right mood – that abstract and indefinable sensation, the aesthetic part – and still leave it were it was...

Willem de Kooning
I make a little mystique for myself. Since I have no preference or so-called sense of color, I could take almost everything that could be some accident of a previous painting. Or I set out to make a series. I take, for instance, some pictures where I take a color, some arbitrary color I took from some place. Well, this is gray maybe, and I mix the color for that, and then I find out that when I am through with getting the color the way I want it, I have six other colors in it, to get that color; and then I take those six colors and I use them also with this color. It is probably like a composer does a variation on a certain theme. But it isn't technical, it isn't just fun.

Willem de Kooning
[in Italian Renaissance] there was no 'subject-matter'. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or lying down. He became a bather, she became a bather; she was reclining; he just stood there looking ahead. That is when the posing in painting began... For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.

Willem de Kooning
Maybe in that earlier phase I was painting the woman in me. Art isn't a wholly masculine occupation, you know.

Willem de Kooning