Carolina Quotes
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 Connected to the Carolinas

Source

De Kooning's lecture Trans/formation, at Studio 35, 1950.

year
1950

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“I admit I know little of Orient art. But that is because I c…” Willem de Kooning. Carolina Quotes, record CQ-3064DEF8CF. https://carolinaquotes.com/quote/3064def8cf

More from Willem de Kooning

It is disastrous to name ourselves.
Quoted in 'A constant searching of oneself' in Abstract Expressionism, Barbara Hess, Taschen, p. 6 — short answer of Willem de Kooning in a panel discussion in 1950 when the former director of the New York museum of modern Art, Alfred H. Barr, Jr. demanded: We should have a name for which we can blame the artists – for once in history!
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.
interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 50.
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.
'What Abstract Art means to me' (1951)

no citation recorded

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