Carolina Quotes[In the past] women painted women: Louise Élisabeth Vigée Le Brun, Mary Cassatt, and so forth. And I thought, men always painted the opposite sex, and I wanted to paint men as sex objects.
Elaine de Kooning Connected to the Carolinas
Source
In the exhibition's catalog book 'Elaine de Kooning Portraits' - Brandon Fortune quotes Elaine de Kooning, telling scholar Ann Gibson in 1987; - - read more
- year
- 1987
Cite this record
“[In the past] women painted women: Louise Élisabeth Vigée Le…” Elaine de Kooning. Carolina Quotes, record CQ-A3382F02B6. https://carolinaquotes.com/quote/a3382f02b6
More from Elaine de Kooning
I think there are too damn many institutions on the face of the earth as it is. Robert Graves said: 'As soon as women organize themselves in the male way with societies, memberships and rules, everything goes wrong.' I think that applies to artists, too. The artist stands for everything against institutions.. [Rosalyn Drexler reacted: 'Institutions and clear thought are opposites. You can't have one with the other']. Right! Institution to me means authority, coercion, mindlessness, bureaucracy; it means the Pentagon, the CIA, the army, organized denominational religion, prisons, mental hospitals.
I was overjoyed when I was taken to a show of the American Abstract Artists Group in '37. They were all alive and they were American! My escort further interested me when he told me the two best abstract artists in America were not in the show — Arshile Gorky and Willem de Kooning, whom I met a couple of months later — when I began to study with him [with Willem de Kooning]. When Miss Nochlin says, 'What is important is that women face up to the reality of their history,' well, the point is, artists are always choosing their history from day to day and their history follows them as much as it precedes them. Were American artists 'facing up to the reality of their history' when they turned to the School of Paris or to German Expressionism or Dada or Surrealism or de Stijl or the Bauhaus instead of to Copley, Peale, Eakins, Blake or Ryder; was Picasso facing up to the reality of his history when he was snooping around African art for inspiration?
I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14.. .Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place'.