Zitate von Joan Mitchell

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Joan Mitchell

Geburtstag: 12. Februar 1925
Todesdatum: 30. Oktober 1992

Joan Mitchell war eine US-amerikanische Malerin. Sie ist eine Vertreterin des Abstrakten Expressionismus.

Zitate Joan Mitchell

„[Mitchell wanted in her painting].. the feeling in a line of poetry which makes it different from, a line of prose... Sentimentality is self-pity, your own swamp. Weeping in your own beer is not a feeling. It lacks dignity and hasn't an outside reference.“

— Joan Mitchell
Quote of Joan Mitchell from an interview with Irving Sandler (c. 1956); as cited in Joan Mitchell, Lady Painter, by Patricia Albers, Knopf Doubleday Publishing Group, 3 may 2011, p. 244

„I'm not religious or anything like that. [But] a little more spiritual something or other... A little more 'feeling'. And there's my word again. You know?... And I find that.... [pauses], I find that uninspiring, and if I hung around too much I might find it very deadly. If I let it enter my studio. And it would be hard not to have it enter.“

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— Joan Mitchell
Tape number two, side A

„I'm not so sure I could have done otherwise, but I wish I... I'm re-going to a French shrink now, and she's helped me a lot. I wish I'd gone sooner, because I think women are inclined more than men to be self-destructive, and I really think I had the masochistic medal there for a while, and I, you know, I want to, that I wish I had stopped. I think it's also very masochistic to sit and cry in my spilt Scotch for areas in my life that have been very creepy and that I should have cut, left sooner. So what's, that's, I feel sorry about that. But I'm getting to [me, be] perhaps more, oh, I don't know, trying to look at that in a more positive way. Maybe I got something out of that too, I don't know... Maybe. I mean... I feel also uncomfortable about staying in France, but then, if I could only make sort of a.., instead of saying negative, 'I'm too lazy to move,' a positive thing, 'I really like this house. I really like this view. I really like Paris better than New York' - or not better, or equally, or differently, or something, which is quite true - instead of sitting - which I can do, I used to do - and missing the country and missing New York, or missing France.“

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— Joan Mitchell
Tape number two, side A

„I'm trying to remember what I felt about a certain cypress tree and I feel if I remember it, it will last me quite a long life.“

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— Joan Mitchell
In 'Art News', April 1965, p. 63; as quoted in in The Paintings of Joan Mitchel, ed. Jane Livingstone, Joan Mitchell, Linda Nochlin, p. 26

„I've have tried to take from everybody [every artist in American Abstract Expressionism ]... I can't close my eyes or limit my experiences... Because I live now, I am more interested in art now. It's different as any art is different from period to period. But it's no better or worse.“

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— Joan Mitchell
Quote in 'Art News', September 1958, p. 41; as cited in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 69

„I don't make drips [in her painting] purposely. This drip business is a pile of shit. If I see them, I take them out [of her painting] like cleaning the house.“

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— Joan Mitchell
remark to Irving Sandler (early 1950s); as quoted in Joan Mitchell, Lady Painter, by Patricia Albers, Knopf Doubleday Publishing Group, 3 may 2011, p. 242

„Light is something very special. It has nothing to do with white. Either you see it or you don't. [George] de la Tour doesn't have light; Monet hasn't any light. Matisse, Goya, Chardin, Van Gogh, Sam Francis, Kline have it. But it has nothing to do with being the best painter at all.“

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— Joan Mitchell
Quote of Mitchel in Marcia Tucker's Whitney catalogue (1974); as cited in Jane Livingstone‘ in The Paintings of Joan Mitchel, ed. Jane Livingstone, Joan Mitchell, Linda Nochlin, p. 35

„It's [the color white] death. It's hospitals. It's my terrible nurses. You can add in Melville, Moby Dick a chapter on white. White is absolute horror. It is just the worst. [quote c. 1957]“

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— Joan Mitchell
In Abstract Expressionism', Barbara Hess, Taschen, Köln, 2006, p. 78

„That's where, I think, I changed for that 'Grande Vallée' subject [a large series of 'natural' paintings, Joan painted during 1982-83], which was really not a subject - the 'Grande Vallée' was a [wild vast] place where this Gisele Barreaux [composer] played with her cousin when they were children, and the cousin, aged 28, died of cancer. And she told me he said to her [when he was dying in 1982], 'If we could only return to the Grande Vallee once again,' as he was dying. I mean, that was what that was all about, so that was a subject of... You know, it was the summer my sister died - the same week - and we went to the Manet show. [in '82].... when I started the 'Grande Vallée'... And I was stuck on a subject, and I thought, 'This is very true and very simple,' and I thought, 'Shit, I'll paint the Grande Vallée for her.' And now, I got her to tell me about it, and it was green and blue, and it was just a vast sort of territory outside Nantes [in Brittany, France]. And so that's how I got started on that whole series.“

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— Joan Mitchell

„And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..“

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— Joan Mitchell
second side of the first tape

„Pop Art, Op Art, Flop Art and Slop Art... I fall into the last two categories [her remark, in the mid 1970’s].“

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— Joan Mitchell
Quote of Joan Mitchell, in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 78 It is quite a narrow studio [1970s], I can never see a big four-panel [panels she was working on the same time as parts of one tryptich] all at once.. ..I can see two big panels. That’s about all.. .I had an awful lot going on at once, going back and forth. I turn [canvases] to a wall (when I am not working on them). I cant paint with everything showing. quote in 1982, Mitchell gave on the occasion of her first European museum retrospective at the Musée d'Art Modern in Paris; as cited in The Paintings of Joan Mitchel, ed. Jane Livingstone, Joan Mitchell, Linda Nochlin, p. 38 quote on her method of working on big canvases as parts of large triptychs

„When I came back [from a temporary stay in Paris] and heard you play with Charles Mingus, and when you and Cecil Taylor [also a free Jazz musician] opened up the 'Five Spot' in the Fall of 1956, I felt better about being in New York. All the musicians who create from the gut as well as their intellect can change things. People will never understand what we are doing if they can't feel... All art is abstract. All music is abstract. But it's all real... When you improvise, I can see the seeds of a symphony you could write. When I first heard Charlie Parker in Chicago, I could see he was a symphony.... we were all trying to bring that spirit, that spontaneous energy, into our work. [talking to jazz-player David Anram in the jazz club the 'Five Spot', in 1956, she was visiting with Franz Kline ].“

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— Joan Mitchell
Quoted by David Anram in 'Introduction', in The Stamp of Impulse, Abstract expressionist prints, ed. David Acton, David Amram, David Lehman, Worcester Art Museum, 2001 p. 21