When you look at a great painting it's like a conversation. It has questions for you. It raises questions in you.. .Being an artist is about discovering things after you've done them. Like Cézanne – after twenty years of that mountain [Mont St. Victoire] he found out what he was doing. If it isn't a process of discovery, it shows. I'm in it for the long haul.
Kenneth Noland Carolinian
Source
Kenneth Noland, p. 24
- work
- "Conversation with Karen Wilkin" (1986-1988)
- year
- 1986
- locator
- p. 24
Cite this record
“When you look at a great painting it's like a conversation. …” Kenneth Noland. Carolina Quotes, record CQ-D6ADBE6134. https://carolinaquotes.com/quote/d6adbe6134
More from Kenneth Noland
It turns out that certain picture shapes don't allow you to use different kinds of quantity distributions of color for different expressions. The quantities and configurations of colors are as important as the colors themselves. When I first started painting circles, I went fairly quickly to a 6-foot square module. I think de Kooning said in an interview or artist's discussion that he only wanted to make gestures as big as his arm could reach. It struck me that he was saying this physical size had to do with the expressive size of the pictures he wanted to make. And as far as I know, when I got to the 6-foot square size, it was right in terms of myself and wasn't too much of a field. Or it was a field, yet it was still physical. And that's why I used it for so long.
Value differences in painting always cut in; color differences always go side by side. Laterally. Color differences can illustrate three dimensional form, but using color in terms of hue belongs more properly to painting than modelling with dark and light [as in sculpting] does.
I have to work things out by painting them. I can't just imagine what will happen. I have to do it and see it. That's the only way I find out if it will go anywhere.