Ellsworth Kelly Quotes
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I was taught to draw very well when I was in school at Boston. And I grew to enjoy drawing so much that I never stopped.
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My earliest drawing is a supposed Carracci. It wasn't very expensive, I guess, because they don't know if it's a real Carracci. But it has all these seals on it of people who've owned it, and one of the great portrait painters of England, Reynolds, had owned it, so that's the earliest.
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My ideas come, wh-pheww. And I draw. Just recently, when I'm searching for ideas for paintings and sculptures, I wait for ideas, and it's always visual.
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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.
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Each drawing that I've done, I have found. Meaning, I see a plant I want to draw.
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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.
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I always felt that a painted edge between two colors was a depiction somehow.
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Time has always been very important in my work.
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I did not want windows, only skylights. I chose my painting wall as it has the best morning light.
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I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.
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My drawings have to be quick. If they don't happen in 20 minutes or a half hour, then they're no good.
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The form of my painting is the content.
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I have a sort of inner sense for scale.
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I like silence.
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Gray goes with gold. Gray goes with all colors. I've done gray-and-red paintings, and gray and orange go so well together. It takes a long time to make gray because gray has a little bit of color in it.
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In Boston, I developed my eye from the drawing. In Paris, I was fascinated by what my eye saw in the way that Paris is built, its 'measure.'
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My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.
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I felt that everything is beautiful, but not? 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.
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I only like artists older than myself. Time is so important. It's always been the same way, I guess.
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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.
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I just feel like I can live on. I hope I can reach 100. I think today if you just keep doing, keep working, that - maybe that's possible.
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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.
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All my paintings are usually done in drawing form, very small. I make notations in drawings first, and then I make a collage for color. But drawing is always my notation.
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The negative is just as important as the positive.