text:
Robert Motherwell

Robert Motherwell (January 24, 1915 – July 16, 1991) was an U.S. abstract expressionist painter. He was one of the youngest artists of the 'New York School' (a phrase he coined), which also included a.o. Jackson Pollock, Mark Rothko, Willem de Kooning and Phillip Guston. Motherwell initiated many art debates and publications in this art-scene.

Quotes of Robert Motherwell

 * sorted chronologically, by date of the quotes of Robert Motherwell

1940s

 * We must remember that ideas modify feelings. The anti-intellectualism of English and American artists has led them to the error of not perceiving the connection between the feeling of modern forms and modern ideas. By feeling is meant the response of the 'body-and-mind' as a whole to the events of reality.
 * Modern Painter's World, ed. Robert Motherwell, Dyn, Nov. 1942, p. 9

 * Plastic automatism.. ..as employed by modern masters, like Masson, Miro, [both artists of Surrealism] and Picasso, is actually very little a question of the unconsciousness. It is much more a plastic weapon with which to invent new forms. As such it is one of the twentieth century greatest formal inventions.
 * Modern Painter's World, Robert Motherwell, Dyn, Nov. 1942, p. 13

 * Great art is never extreme. Criticism moves in a false direction, as does art, when it aspires to be a social science.. .In this world modern artists form a kind of spiritual underground.
 * Motherwell's writing in 1944; as cited in 'Robert Motherwell, American Painter and Printmaker', on 'Artstory'

 * [modern art is the story of certain peoples'] desire to get rid of what is dead in human experience, to get rid of concepts, whether aesthetic or metaphysical or ethical or social, that, being garbed in the costumes of the past, get in the way of their enjoyment.
 * Lecture at Mount Holyoke College, August 1944; later published as 'A Tour of the Sublime', in 'Tiger's Eye', 15 Dec. 1948; as cited in 'Robert Motherwell, American Painter and Printmaker', on 'Artstory'

 * One is to know that art is not national, that to be merely an American or a French artist is to be nothing; to fail to overcome one's initial environment is never to reach the human.. .Thus when we say one of the ideals of modern art has been internationalism, it is..  ..as a natural consequence of dealing with reality on a certain level. [quote in 1946]
 * As quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 439

'Beyond the Aesthetics' (1946)

 * 'Beyond the Aesthetics', Robert Motherwell, in 'Design 47', no 8, April 1946, pp. 15-..

 * One cuts and chooses and shifts and pastes, and sometimes tears off and begins again.
 * p. 15

 * The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition.. .We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist's task; and it is the qualities of this object that constitute its felt content.
 * pp. 36-37

 * The passions are a kind of thirst, inexorable and intense, for certain feelings or felt states. To find or invent 'objects' (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions,- that for me is the activity of the artist, an activity which does not cease even in sleep. No wonder the artist is constantly placing and displacing, relating and rupturing relations; his task is to find a complex of qualities whose feeling is just right – veering toward the unknown and chaos, yet ordered and related in order to be apprehended.
 * pp. 36-37

 * The activity of the artist makes him less socially conditioned and more humans. It is then that he is disposed to revolution. Society stands against anarchy; the artist stands for the human against society; society therefore threats him As an anarchist. Society's logic is faulty, but its intimation of an enemy is not. Still, the social conflict with society is an incidental obstacle in the artist's path.
 * pp. 36-37

 * It is Cezanne's feeling that determined the form of his pictorial structure. It is his pictorial structure that gives off his feeling. If all his pictorial structures were to disappear from the world, so would a certain feeling..
 * pp. 38-39

 * Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world.. .The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.
 * pp. 38-39

1950s

 * Every intelligent modern painter carries the whole culture of modern painting in his head.
 * Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 22

 * Don't underestimate the influence of the Surrealist state of mind on the young American painters [like his artist-friends William Baziotes and Roberto Matta in those days.
 * Abstract Painting, Thomas Hess, New York, Viking 1951, p. 132

 * ..there is a real Dada strain in the minds of the New York School of abstract painters that has emerged in the last decade.
 * The Dada Painters and Poets, Schultz, Wittenborn, New York 1951, p. xiii

 * Here we are at the antipode of automatism [invention from Surrealism] and mechanism, and no less distant from the cunning way of reason. In the action of the machine, in which everything is repeated and predetermined, accident is an abrupt negation.. .. [the] excess of ink flowing capriciously in thin black rivulets..  ..this line deflected by a sudden jar, this drop of water diluting a contour – all these are the sudden invasion of the unexpected in a world where it has a right to its proper place. [Motherwell is quoting here the comments of Henri Focillon on Japanese legends of 'accidentalism']
 * The Dada Painters and Poets, Schultz, Wittenborn, New York 1951, p. xxxvii
 * [the process of painting..] ..is conceived of as an adventure, without preconceived ideas on the part of persons of intelligence, sensibility, and passion. Fidelity to what occurs between oneself and the canvas, no matter how unexpected, becomes central..  ..the major decisions in the process of painting are on the grounds of truth, not taste...
 * The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46

 * Nothing as drastic an innovation as abstract art could have come in to existence, save as the consequence of a most profound, relentless, unquenchable need. The need is for felt experience - intense, immediate, direct, subtle, unified, warm, vivid, rhythmic.
 * 1951; as cited in 'Robert Motherwell, American Painter and Printmaker', on 'Artstory'

 * The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.
 * 1951; as cited in 'Robert Motherwell, American Painter and Printmaker', on 'Artstory'
 * from his responding at the 1951 MoMA symposium, in which several artists were asked to respond to the prompt 'What Abstract Art Means to Me'

 * ..no true artist ends with the style that he expected to have when he began,. ..it is only by giving oneself up completely to the painting medium that one finds oneself and one's own style.
 * The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46

 * ..a plastic weapon with which to invent new forms.. [remark in 1951 on the concept of automatism ].
 * Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 79

 * It would be very difficult to formulate a position in which there were no external relations. I cannot imagine any structure being defined as though it only has internal meaning.
 * Modern Artists in America, First Series, R. Motherwell, Ad Reinhardt and B. Karpel eds., 1952; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 40

'The painter and the audience' (1954)

 * 'The painter and the audience', 1954; as quoted in Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990

 * ..for most painters nowadays [1954] examination is self-examination – this is all that we are accustomed to – while the relation to the audience is a social matter. And it is our pictures, not ourselves, that live the social life and meet the public.
 * p. 106

 * A modern painter may have many audiences or one or none; he paints in relation to none of them, though he longs for the audience of other modern painters.
 * p. 107

 * Indeed, our society, which has seemed so freedom-giving and passive in its attitudes toward the artist really makes extraordinary demands upon him: on the one side, to be free in some vague spiritual sense, free to act only as an artist, and yet on the other side to be rigorously tested as to whether the freedom he has achieved is great enough to be more solidly dependable than a government's financial structure.. .No wonder that modern painters, in view of these curious relations to society, have taken art matters into their own hands, decides for themselves what art is, what its subjects are to be, and how they are to be treated. Art like love is an active process of growth and development.
 * p. 108

 * I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting.. .An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies...
 * pp. 109-110

1960s

 * I think he Pollock responded to rhythm more than anything else in art. Indeed, perhaps it is not to much to assert that his greatest works are marked by the intensity and violence of his rhythm, modified by an incorruptible respect for the work's flat surface, an art masculine and lyrical and, as in a Celtic dance, measured, despite its original primitive impulse. That he also meant to me, his rhythm...
 * 'Jackson Pollock: An Artists' Symposium', in 'ARTnews', Vol. 66, no. 2 April 1967

'Interview with David Sylvester', (1960)

 * Interview with David Sylvester, recorded over BBC, 22 Oct. 1960

 * I begin [a painting] from an impulse, an intense and irrational desire that takes you over, prompting you to start moving. And from experience, with some knowledge of what moves oneself, I think it's not altogether arbitrary what one begins with.. ..certainly implicit partially is the feeling, not that 'I am going to paint something I know' by 'through the act of painting I'm going to find out exactly how I feel'.
 * as cited in Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 111

 * In my case, I find a blank canvas so beautiful that that to work immediately, in relation to how beautiful the canvas is as such, is inhibiting and, for me, demands 'too much to quickly'; so that my tendency is to get the canvas 'dirt', so to speak, in one way or another, and then, so to speak 'work in reverse', and try to bring it back to an equivalent of the original clarity and perfection of the canvas, that one began on...
 * as cited in Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 111

 * Before 1940 there was relatively little abstract art in America. Most of it was relatively geometric versions of Cubism, or of Mondrian and De Stijl, or of Arp reliefs, and the like. So that when our painting [of the artists of the New York School: Abstract Expressionism first appeared, the critics at once realized that to describe it as 'abstract' would be misleading.. .In America, the word (I suppose taken from Germany) for something highly emotional is 'expressionist', and some critic, either in the New Yorker or the New York Times then called it Abstract Expressionism, meaning that this was a very emotional art, but an abstract one.
 * first published in 'Metro', 1962; as cited in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 80

 * Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean' . I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean... .I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.
 * first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 81

 * I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.. ..Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language.
 * first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 82

after 1970

 * And finally after months of really a cold war [between his father and him] he made a very generous agreement with me that if I would get a Ph.D. so that I would be equipped to teach in a college as an economic insurance, he would give me fifty dollars a week for the rest of my life to do whatever I wanted to do on the assumption that with fifty dollars I could not starve but it would be no inducement to last. So with that agreed on Harvard then - it was actually the last year - Harvard still had the best philosophy school in the world. And since I had taken my degree at Stanford in philosophy, and since he didn't care what the Ph.D. was in, I went on to Harvard.
 * 'Oral history interview with Robert Motherwell', 1971 Nov. 24 - 1974 May 1, Archives of American Art, Smithsonian Institution

 * When I was young I was more obsessed with the materiality of things.. ..today I am more interested in air and atmosphere. This is why I deliberately treat space ambivalently. For example, an orange painting with white lines might be viewed as an orange wall with white lines, but the orange colour is no less atmospheric for all of that. It abounds white light, and the white line vibrate in a deep space, too, as well as an orange 'wall'.
 * Interview with Irmeline Lebeer, in 'Recent Work', Princeton Art Museum, 1973 pp. 10-13

 * I love painting the way one loves the body of a women.. ..if painting must have an intellectual and social background, it is only to enhance and make more rich an essentially warm, simple, radiant act, for which everyone has a need.
 * Conversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983

 * When I first saw the work of Matisse I knew that was for me.
 * Conversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983

 * I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling. I begin with shapes and colors which are not related internally nor to the external world; I work without images. Ultimate unifications come about through modulations of the surface by innumerable trials and efforts. The final picture is the process arrested at the moment when what I was looking for flashes into view.
 * Cconversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 94

 * I take an elegy to be a funeral lamentation or funeral song for something one cared about. The 'Spanish Elegies' [his most famous series of paintings, related to the Spanish Civil War] are not 'political' but my private insistence that a terrible death happened that should not be forgot. They are as eloquent as I could make them. But the pictures are also general metaphors of the contrast between life and death and their interrelation.
 * Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 111

 * Among other ends, modern art is related to the ideal of Internationalism.
 * American Abstract Expressionism of the 1950's, An Illustrated Survey, Herskovic, Marika; nyschoolpress, 2003, p.238

 * I hung Baziote's [painting] show with him at Peggy's in 1944. After it was up and we had stood in silence looking at it for a while, I noticed he had turned white.. .Suddenly he [Baziotes] looked at me and said: 'You're the one I trust; if you tell me the show is no good, I'll take it right down and cancel it.'..  ..you see, at the opposite side of the coin of the abstract expressionist's ambition and of out not giving a damn, was also not knowing whether our pictures were even pictures, let alone whether they were any good...
 * William Baziotes – paintings and drawings, curated by Michael Preble, Peggy Guggenheim Collection, Venice, 2004, p. 181

Undated

 * All my life I've been working on the work - every canvas a sentence or paragraph of it. Each picture is only an approximation of what you want. That's the beauty of being an artist; you can never make the absolute statement, but the desire to do so as an approximation keeps you going.
 * as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991

 * You let the brush take over and in a way follow its own head, and in the brush doing what it's doing, it will stumble on what one couldn't by oneself.. .It's essential to fracture influences in the same way that free association in psychoanalysis helps to fracture one's social self-deceptions.
 * Quote, as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991
 * Motherwell's description of the surrealist method of psychic automatism, or 'artful scribbling', as he called it and applied it always. It involved a kind of 'free association' in which the pen or brush was allowed to wander on the surface, free from and not directed by the conscious mind

 * We [the American Abstract-expressionist artists of the 1940's] were formed by the Depression [1930's], when the American dream lay in pieces on the floor. The possibility of making money was inconceivable to us. America was innocent in relation to modern art, and no one cared. The reigning painters in America were very parochial in relation to the international tradition.. .What held us together was our ambition to use the standards of international modernism as a gauge, not those of Thomas Hart Benton or Grant Wood or Guy Pene du Bois. We did have a terrible struggle, but not for success. It was to make painting that would stand up under international scrutiny, and all the rest was a byproduct."
 * as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991

 * Compared with Brancusi, Matisse, Miro, I'm a barbarian. If people would understand the barbaric force of my paintings, instead of always pointing out how well I understand Picasso. I'm a Viking who has read French literature.
 * as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991

Quotes about Robert Motherwell

 * sorted chronologically, by date of the quotes about Robert Motherwell

 * Among champions of high culture, he [Motherwell] has kept to a policy of 'no compromise.' Not for him the contaminations of popular culture or the wish to get clear once and for all of criteria first formulated in Europe. In his writing, his teaching and his conversation, he has kept open a direct line to the European past, no matter whether the great spirits under discussion are Velazquez or Piero della Francesca, Mozart or Mallarme, Goya or Baudelaire. And if he seems to see himself not only as the admirer of these people, but also their peer, it is for the work to justify that idea, rather than for the artist to repress it - A Teacher And an Editor.
 * Quote of John Russell; written at the end of a 40-year retrospective-exhibition of Motherwell (by the Albright-Knox Gallery of Art in Buffalo); ending at the Guggenheim Museum in New York, 1984-85; as cited in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991

title: Robert Motherwell


text:
Joan Miró

Joan Miró i Ferrà (April 20, 1893 – December 25, 1983) was a Spanish painter, sculptor and ceramist born in Barcelona, Spain. His work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan and Spanish pride.

Quotes

 * The plate that a peasant eats his soup out of is much more interesting to me than the ridiculously rich plates of rich people.
 * Art Is the Highest Form of Hope & Other Quotes by Artists by Phaidon (2016) p 181

1910s

 * Let's transplant the primitive soul to the ultramodern New York, inject his soul with the noise of the subway, of the 'el', and may his brain become a long street of buildings 224 stories high. [Barcelona - Dada, 1917]
 * In: a letter to Enric C. Ricart, 1 October 1917; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 47

1930s

 * Down with the Mediterranean!
 * In: Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 32
 * Miro's verbal statement at a [[Surrealism|Surrealist] demonstration, against the supremacy of Classical culture, 1930's

 * ..wherever you are, you find the sun, a blade of grass, the spirals of the dragonfly. Courage consists of staying at home, close to nature, which could not care less about our disasters. Each grain of dust contains the soul of something marvellous. [Miró admonished art-critic Georges Duthuit ]
 * In: 'Où allez-vous Miró?' (Where do you go, Miró), Georges Duthuit in Cahiers d'Art 11, nos. 8-10, 1936

 * ..something as sensational as [a] heavy weight prize fight.. ..a rain of swings, uppercuts, and straight right and lefts to the stomach and everywhere throughout the entire event – a round lasting about twenty minutes. [remark on a ballet Miro planned to, c. 1930]
 * Quote of Miró in 'Bravo' Barcelona 1994; as cited in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 37

 * We see ourselves confronted with pure abstraction. Small problems and highly obscure subjects are, if you will, always grand in intention, and the layman would casually and quite undisparagingly trample on them if they were to serve as carpet motifs.
 * in a review of his Bernheim show, G. J. Gros, Fall 1933; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 81 note 10

 * I have thought a lot about the question of titles. I must confess that I find any for works that take off from an arbitrary starting point and end with something real.. ..[Miro allowed Pierre Matisse to make titles, based on the] real things..  ..[if they do] not evoke some tendency or other, something I want to avoid completely [very probably Miro meant here: the Surrealists ]. [advising Pierre Matisse; who showed then several modern European painters in New York].
 * In a letter to his art-seller Pierre Matisse, 12 October 1934; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 82, note 24

 * Childhood and magic are married in this poem inscribed in infinity, like traces on walls or cracks in venerable walls, superimposed posters lacerated by wind, rain and poetry; calligraphy and ideograph intermerge in this equation.. ..in this sign.
 * In: a letter to art-seller in New York Pierre Matisse, [son of Henri Matisse, 19 February 1936]; the Pierre Matisse Gallery Archives, The Pierpont Morgan Library, New York MA 5020

 * Have you ever heard of anything more stupid than 'abstraction-abstraction'? and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself.
 * In: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936

 * And then, as you can see, I give greater and greater importance to the materials I use in my work [c. 1936]. A rich and vigorous material seems necessary to me in order to give the viewer that smack in the face that must happen before reflection intervenes. In this way, poetry is expressed through a plastic medium, and it speaks its own language.
 * In: 'Où allez-vous Miro?', Georges Duthuit in Cahiers d'Art 11, nos. 8-10, 1936

 * Picasso was wild about it and said it was one of the best things I have ever made. [on Miro's exhibition in Paris, 1938 where he showed a big frieze, made for a children's room; commissioned by art-dealer Pierre Matisse in New York]
 * In: Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 76

 * to try also, inasmuch as possible, to go beyond easel painting, which in my opinion has a narrow goal, and to bring myself closer, through painting, to the human masses I have never stopped thinking about.
 * In: 'Je rêve d'un grand atelier', Miro 1938; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 65

 * How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling..
 * from: Miro, on English Wikipedia
 * Miró's quote on 'automatic painting and drawing', explaining the start of his work 'Harlequin's Carnival' he made in Paris, strongly admired then by Surrealists like André Breton

1940s

 * [to] think, in a certain way, of the power and severity of Romanesque paintings.. .Go to the beach and make graphic signs in the sand, draw by pissing on the dry ground, design in space by recording the songs of the birds, the sounds of water and wind..  ..and the chant of insects.
 * 'Working notes of Miro, 1940 – 1941'; as quoted in: Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69

 * [the canvas..] rubbing in with a handful of straw, with a rag, a scrubbing brush, a Majorcan brush for applying white, with the hand, etc.. .. [a drawing in a] gigantic rhythm like that of a waterfall cascading down a mountainside..  ..[works based on] pure signs begun in Varensgeville and finished in Palma..  ..[with a picture ground of] blue vitriol [a pesticide] that they use for the vines and that splashes against the walls of the farmhouse.. [Miro describes his 'attacks' on the canvas].
 * 'Working notes, 1941 – 1942'; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69

 * Decoration. Very rapidly executed, at one go, spontaneously [reflection of making a mural on the site for the terrace plaza hotel in Cincinnati]. What takes a long time in my case is the work of silent reflection; it is impossible for me to predict the duration of this preparatory period. You have to keep in mind that it is by no means a matter of just doing a large picture, and though it will not be possible to paint a true mural by attacking the wall directly, in fresco, to do so will require persistence while maintaining, as much as possible, the spirit of the great tradition of mural painting. I shall have to go to Cincinnati in advance as soon as I can, to view the architecture and its environs, because otherwise I would only create an easel painting in large format.
 * In a letter to Pierre Matisse, 26 January 1946; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 70

 * I was very interested in the reproductions of your [ Calder's ] sculptures. I have looked at them many times [Calder sent him], and they are something completely unexpected. You are taking a path full of great possibilities. Bravo! Sculpture is of enormous interest to me right now. For the last two years [1944-46], during summer vacation, that's all I have been doing and it's very good for a painter to get away from the old story of canvas and frame every now and again.
 * In a letter to his friend Calder, Barcelona, 18 March 1946; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 268

1950s

 * The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me.
 * from: English Wikipedia, Joan Miró, 1958, as quoted in Twentieth-Century Artists on Art, ed. Dore Ashton, 1986

 * Painting must be fertile. It must give birth to a world.. ..it must fertilize the imagination.
 * from: Taillandier, 1959; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 82, note 24

 * I try to apply colors like words that shape poems, like notes that shape music.
 * from: Joan Miro: Selected Writings and Interviews, M.Rowell, Thames and Hudson, 1987

 * I begin my work under the effect of shock, which I can sense and which gets me on the run from reality.. .In any case, I need a starting point, even if it’s just a speck of dust or a gleam of light.
 * In: On the Readability of Signs; Miro's path from Mysterious to Comic Pictorial signs, Sylvia Martin; Düsseldorf 2002, p. 67

 * To gain freedom is to gain simplicity.
 * Joan Miró, Joan Miró Foundation

1960s

 * Thirty five years ago.. ..Sandy [Alexander Calder, and his wife] Louisa came to see me at Montroig, where I conceived the farm [Montroig in Spain, where Miro had a farm in the 1930s], where the trees, the mountains, the sky, the house, the vineyards, have remained the same. There where the mules have always eaten carobs, and where we have the same warming red wine. Well then, one day I invited all my neighbours, the farmers and workmen of the district to see the Circus that Calder had brought. Everyone was transfixed and totally overwhelmed by it.
 * Quote of Miró on a visit of Calder who brought with him the small mechanical circus made from wire: a letter by Miro, 17 March 1964 / Correspondence 61; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 33

 * When I first saw Calder's art very long ago [c. 1928 in Paris, Miro saw Calder performing his mechanical 'Circus' for the Paris' art scene, all puppets made from metal wire and wood] I thought it was good, but not art.
 * In: 'New York Times', 3 April 1969

1970s

 * Your face had become dark, and, upon the day's awakening, your ashes will disperse themselves throughout the garden.
 * Your ashes will fly to the sky, to make love with the stars.
 * Sandy, Sandy, your ashes caress the rainbow flowers that tickle the blue of the sky.
 * [short poem of Miro, on the death of his good old art-paw, the inventor of the 'mobile', Sandy Calder ]

 * In: his 'Foreword', Barcelona 1977; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 309

 * In the current struggle I see the antiquated forces of fascism on one side, and on the other, those of the people, whose immense creative resources will give Spain a drive that will amaze the world.
 * In: Revelations', Luis Permanyer, April 1978; as quoted in Calder Miró'', ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 81 note 10

Quotes about Miro

 * Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land.. .A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.
 * Quote of Marcel Duchamp in: 'Appreciations of other artists': Joan Miro (painter, sculptor author) 1946, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159

 * ..I've been touched, in the work of Miró and Pollock, by a Surrealist – by Surrealist I mean 'associative' – quality. It's what comes through in association after your eye has experienced the surface as a great picture; it is incidental but can be enriching.
 * Quote by Helen Frankenthaler in: 'Interview with Helen Frankenthaler', Henry Geldzahler; ''Artforum' 4. no. 2, October 1965, pp. 37-38

 * There's this book by Joan Miró, the artist, called I Work Like a Gardener. It's a very small book, it's very beautiful, and he says, "I work like a gardener. I'm never so happy as when I'm rich in Canvases." He says, "Then I get up in the morning and I prune one. I water another..." I had been working very much like that. It's such a nice corroboration from another art, that I'm grateful to it, and it's become a way that, with my bad habits and my natural disinclinations, I can work.
 * 1980 interview in Conversations with Grace Paley

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Joan Miró


text:
Willem de Kooning

Willem de Kooning (24 April 1904 – 19 March 1997) was an abstract expressionist painter, born in Rotterdam, Netherlands, who settled in the United States. Along with Jackson Pollock, and others, he was an exponent of Abstract expressionism. Initially, he was strongly influenced by Picasso, Cubism, and Chaim Soutine. He was married with Elaine de Kooning and closely befriended with Arshile Gorky; later with Franz Kline.

1940s

 * Art never seems to make me peaceful or pure. I always seem to be wrapped in the melodrama of vulgarity. I do not think.. ..of art as a situation of comfort.
 * Beyond the Aesthetic, Robert Motherwell, Design 47, April 1946, as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 101.
 * Original in Dutch: Kunst lijkt me nooit volledig of zuiver te maken. Het is of ik altijd verwikkeld ben in het melodrama van de alledaagsheid. [...]

 * Jackson has broken the ice for us.
 * Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 130.
 * De Kooning's comment on Pollock's drip paintings, first shown at Betty Parsons gallery, 1948

 * The texture of experience is prior to everything else.
 * Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 150.
 * 1948, in the period of making his painting 'Excavation'

 * When, about fifteen years ago, I walked into Arshile's studio for the first time, the atmosphere was so beautiful that I got a little dizzy and when I came to, I was bright enough to take the hint immediately. If the bookkeepers think it necessary to make sure of where things and people came from, well then, I came from 36 Union Square [address of the studio of Gorky that time].. .I am glad that it is about impossible to get away from his powerful influence.
 * ART news, Vol. 47, no 9, January 1949

1950s

 * For really, when you think of all the life and death problems in the art of the Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.
 * The Renaissance and Order (1950) Trans/formation, vol. 1, no.2, 1951, pp. 85-87.

 * There is a train track in the history of art that goes way back to Mesopotamia. It skips the whole Orient, The Mayas, And American Indians. Duchamp is on it. Cézanne is on it. Picasso and the Cubists are on it; Giacometti, Piet Mondrian, and so many.. .I have some feeling about all these people – millions of them – on this enormous track, a way into history. They had a peculiar way of measuring. They seemed to measure with a length similar to their own height..  .The idea that the thing that the artist is making can come to know for itself, how high it is, how wide and how deep it is, is a historical one, - a traditional one I think. It comes from man's own image.
 * De Kooning’s lecture Trans/formation at Studio 35, 1950.

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

 * Nature then, is just nature. I admit I am very impressed with it. The attitude that nature is chaotic and that the artist puts order into it is a very absurd point of view, I think. All that we can do for is to put some order in ourselves. When a man ploughs his field at the right time, it means just that.
 * De Kooning's lecture Trans/formation, at Studio 35, 1950.

 * I am always in the picture somewhere. The amount of space I use I am always in, I seem to move around in it. And there seems to be a time when I lose sight of what I wanted to do, and then I am out of it. If the picture has a countenance I keep it. If it hasn't, I throw it away.
 * Quote of de Kooning, in: Modern Artists in America, First Series, R. Motherwell, Ad Reinhardt and B. Karpel eds., 1952 p. 12.

 * [in Italian Renaissance] there was no 'subject-matter'. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or lying down. He became a bather, she became a bather; she was reclining; he just stood there looking ahead. That is when the posing in painting began.. .For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.
 * The Renaissance and Order Trans/formation 1, 1951; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 113.

 * The potato seems like a Romantic (organic) object.. ..you can watch it growing if you don’t eat it. It is going to change – grow, rot, disappear. A pebble is like a Classical thing – it changes little if any..  .If it was big you could keep the dead down with it..  ..The Classical idea is not around much anymore. [Der Koning is comparing the Potatoes of Vincent Van Gogh to the Pebbles of Jean Arp.
 * Artist Club, 22 February 1952, as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 102

'What Abstract Art means to me' (1951)
De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.

 * The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art.. .The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.

 * But one day, some painter used 'Abstraction' as a title for one of his paintings. It was a still life. And it was a very tricky title. And it wasn’t really a very good one. From then on the idea became something extra. Immediately it gave some people the idea that they could free art from itself. Until then, Art meant everything that was in it – not what you could take off it. There was only one thing you could take out of it sometime when you were in the right mood – that abstract and indefinable sensation, the aesthetic part – and still leave it were it was...

 * Kandinsky understood 'form' as a form, like an object in the real world; and a object, he said, was a narrative – and so, of course, he disapproved of it. He wanted ‘his music without words’. He wanted to be 'simple as a child'. He intended, with his 'inner-self' to rid himself of 'philosophical barricades' (he sat down and wrote something about all this). But in turn his own writing has become a philosophical barricade, even it is a barricade full of holes. It offers a kind of Middle European idea of Buddhism or, anyhow, something too theosophical for me.

 * The sentiment of the Futurists was simpler. No space. Everything ought to keep going! That's probably the reason they went themselves. Either a man was a machine or else a sacrifice to make machines with..

 * I still think that Boccioni was a great artist and a passionate man. I like El Lissitsky's painting very much. But Mondrian that great merciless artist, is the only one who had nothing left over. The point they all had in common was to be both inside and outside at the same time. A new of likeness!. ..for me to be inside and outside is to be in an unheated studio with broken windows in the winter.

 * Personally, I do not need a movement. What was given to me, I take for granted. Of all movements, I like Cubism most. It had that wonderful unsure atmosphere of reflection - a poetic frame where something could be possible, where an artist could practise [sic] his intuition. It didn't want to get rid of what went before. Instead it added something to it. The parts that I can appreciate in other [art] movements came out of Cubism. Cubism became a movement, it didn't set out to be one. It has force in it, but it was no 'force-movement.' And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.

 * 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.

1960s

 * You know the real world, this so-called real world, is just something you put up with. Like everybody else. I'm in my element when I am a little bit out of this world. Then I'm in the real world – I'm on the beam. Because when I'm falling, I'm doing all right. When I'm slipping, I say: he, this is interesting. It's when I'm standing upright that bothers me.
 * Quote from film script Sketchbook 1, Time inc; 1960.

 * I met him [Arshile Gorky] in 1929. Of course I met a lot of artists, but then I met Gorky. Well I had some training in Holland, quite a training, you know, The Academy. And then I met Gorky [in New York], who didn't have that at all, he became from no place [Tiflis, Armenia].. .And for some mysterious reason, he knew lots more about painting, and art, he just knew it by nature - things I was supposed to know and feel and understand - he really did it better. He had an extraordinary gift for hitting the nail on the head, very remarkable, so I immediately attached myself to him and we became very good friends.
 * In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 47

 * Certain artists and critics attacked me for painting the 'Women' [series of paintings, De kooning started in 1950], but I felt that this was their problem, not mine. I don’t really feel like a non-objective painter at all.. .It's really absurd to make an image, like a human image. With paint, today, when you think about it, since we have this problem of doing it or not doing it. But then all of a sudden it was even more absurd not to do it. So I fear I have to follow my desires.
 * 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. 45.

 * The 'Women' [paintings] had to do with the female painted through all ages, all those idols, and maybe I was stuck to a certain extent; I couldn't go on. It did one thing for me: it eliminated composition, arrangement, relationships, light – all this silly talk about line, colour and form – because that was the thing I wanted to get hold of.
 * 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. 45.

 * No, the artists are in a state of belated Age of Reason. They want to get hold of things, like Mondrian. He was a fantastic artist, but now when we read his ideas and his idea of Neo-Plasticism [= De Stijl ] – pure plasticity – it’s kind of silly, I think. I mean, not for him, but I think one could spend one's life having this desire to be in and outside at the same time. He could see a future life and a future city – not like me, who am absolutely not interested in seeing the future city. I'm perfectly happy to be alive now.
 * Quote of De Kooning from an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 49

 * But I find, because of modern painting, that things which couldn't be seen in terms of painting, things you couldn't paint.. ..it is not that you paint them, bit is the connection. I imagine that Cézanne, when he painted a ginger pot with apples, must have been very grotesque in his day, because a still life was something set up of beautiful things. It may be very difficult, for instance, to put a Rheingold bottled beer on the table and a couple of glasses and a package of Lucky Strike [cigarets]. I mean, you know, there are certain things you cannot paintat a particular time, and it takes a certain attitude how to see those things, in terms of art.
 * In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 54

 * The pictures [De Kooning had] done since the 'Women', they're emotions, most of them. Most of them are landscapes and highways and sensations of that, outside the city – with the feeling of going to the city or coming from it. I am not a pastoral character. I'm not a – how do you say that? – 'country dumpling'. I am here and I like New York City. But I love to go out in a car.. .I'm just crazy about going over the roads and highways.
 * 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. 48.

 * Well, now I can make some highways, maybe. Well, now I can set out to do it and maybe it will be a painting of something else. Because if you know the measure of something, for yourself.. .There's is no absolute measure that you can identify yourself. You can find the size of something . You say, now ,that's just this length, and immediately with that length you can paint, well, a cat maybe. If you understand one thing, you can use it for something else. Well, that is the way I work..  .I get hold of a certain thing of area or measure or size and then I can use it. I mean, I have an attitude. I have to have an attitude.
 * In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 54

 * I feel now if I think of it, it will come out in the painting. In other words, if I want to make the whole painting look like a bottle, like a lot of bottles - for instance maybe the end of the day, when everything is very light, but not in sunlight necessarily - and so if I have this image of this bottle and if I really think about it, it will come out in the painting. That doesn’t mean that people notice a bottle, but I know when I succeed in it – then the painting would have this.
 * 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. 49.

 * 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.

 * I feel sometimes an American artist must feel, like a baseball player or something - a member of a team writing American history..
 * Willem de Kooning (1969) by Thomas B. Hess, Content Is A Glimpse, excerpts from an interview with David Sylvester, (BBC), Location, vol.1 no.1 Spring 1963.

1980s

 * ..the word 'abstract' comes from the light tower of the philosophers.. ..one of their spotlights that they have particularly focused on 'Art'..  ..(abstraction was) not so much what you could paint but rather what you could not paint. You could not paint a house or a tree or a mountain. It was then that subject matter came into existence as something you ought not have.
 * Willem de Kooning, MOMA Bull., pp. 4, 6; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 104.

 * What fascinates me about Van Gogh is that his sun dries up everything. Maybe he was melodramatic but my point really is.. ..if you are a painter you have to face that self-consciousness. You get dirty and pathetic; very miserable. It makes me self-conscious to talk about it. There is something corrupt on art. Nothing do with any 'ism' but a thing in nature loses its innocence and becomes a grotesque thing..  ..maybe this difficulty is personal with me, and maybe it is something that other painters have in common. Perhaps it is also something of today. [in conversation with W.C. Seitz]
 * Quote from Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 121.

 * The point they (Lissitzky, Rodchenko, Tatlin, Gabo, the neo-Plasticists, and so on) all had in common was to be inside and outside at the same time.. .For me, to be inside and outside is to be in an unheated studio with broken windows in the winter, or taking a nap on somebody's porch in the summer.
 * Willem de Kooning, MOMA Bull, pp. 7,6, as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 134.

 * Man's own form in space – his body – was a private prison; and that it was because of this imprisoning misery – because he was hungry and overworked and went to a horrid place called home late at night in the rain, and his bones ached and his head was heavy.
 * Willem de Kooning, MOMA Bull, pp. 7,6; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 135.

 * There is a time when you just take a walk.. ..you walk in your own landscape..  .It has an innocence that is kind of a grand feeling..  .Somehow I have the feeling that old man Monet might have felt like that, just simple in front of things, or old man Cézanne too..  .I really understand them now.
 * (1980's)as quoted in 'A painter's testament: De Kooning in the Eighties', Robert Storr, Moma-website, reprinted in 1997

1990s & from posthumous publications

 * And then there is that one-man movement, Marcel Duchamp — for me a truly modern movement because it implies that each artist can do what he thinks he ought to — a movement for each person and open for everybody.
 * Quoted in A Brief History of American Culture (1996) by Robert M. Crunden, p. 279.

 * I think I would choose Soutine.. .I've always been crazy about Soutine - all of his paintings. Maybe it's the lushness of the paint. He builds up a surface that looks like a material, like a substance. There's a kind of transfiguration, a certain fleshiness in his work..  .I remember when I first saw the Soutine's in the Barnes Collection..  ..the Matisse's had a light of their own, but the Soutine's had a glow that came from within the paintings - it was another kind of light.
 * The impact of Chaim Soutine (1893-1943): de Kooning, Pollock, Dubuffet, Bacon, publisher: Hatje Cantz, Galerie Gmurzynska, Cologne (Köln), 2001.
 * Answer on the question who is his favourite artist, probably made around 1977.

 * I had my own eyes, but I wasn't always looking in the right direction. I was certainly in need of a helping hand at times. Now I feel like Manet who said, "Yes, I am influenced by everybody. But every time I put my hands in my pockets I find someone else's fingers there."
 * As quoted in Willem De Kooning, 1904-1997: Content as a Glimpse by Barbara Hess, 2004.

Quotes about Willem de Kooning

 * Let us watch this de Kooning [Dali comment here the 'Woman' paintings, Willem de Kooning painted in the early 1950's] with his prematurely white hair making his great sleepwalker's movements, as though he was waiting in a dream to open bays of Biscay, to explode islands like pieces of orange or Parma violets, to tear continents from a cerulean blue split by oceans of Naples yellow.. ..if by good or by ill fortune, in the middle of this Dionysian demiurg the image of 'The Eternal Feminine' should appear..  ..the least that might have happened to her would be that she should emerge (from all this chaos) wearing nothing but a little make-up.
 * Salvador Dali in Dali and Me, Catherine Millet, (translation, Trista Selous), Scheidegger & Spiess AG, 8001 Zurich Switzerland, p. 135

 * I think Rothko really made a break with his past - I've made this point before - and Franz Kline also made a break with his past. They just changed completely in a way that Gorky and Willem de Kooning never did. Their work was always a continuity and one grew out of the other. Let's say, paintings that de Kooning was doing in the '70's had very little to do with the things that he was doing in the '40's, ostensibly, but it was a smooth continuous flow. It was not like saying, "I repudiate that."
 * Elaine de Kooning (1981), in 'Oral history interview with Elaine de Kooning', 1981 Aug. 27, conducted by Phyllis Tuchman; Archives of American Art, Smithsonian Institution

 * ..I'm sure that Pollock's ambiance affected me tremendously. I was much more drawn to Pollock's painting on the raw canvas [and on the floor!] than I was to de Kooning's easel cuisine and there it's a matter of sensibility. Aesthetically, socially, in every way the de Kooning thing seemed to be much more productive, planned, admirable at the time. But I didn't think so. I thought that Pollock was really the one living in nature much more than Bill [= Willem de Kooning].
 * Helen Frankenthaler (1968), in the interview with Barbara Rose, for the Archives of American Art, Smithsonian Institution

 * I've always thought that with de Kooning you could assimilate and copy. And that Pollock instead opened up what one's own inventiveness could take off from. In other words, given one's own talent for curiosity that you could explore, originate, discover from Pollock as one might, say, Picasso, or [Arshile] Gorky or [Wassily] Kandinsky in a way that de Kooning was a closed oeuvre.
 * Helen Frankenthaler (1968), in the interview with Barbara Rose, for the Archives of American Art, Smithsonian Institution

 * So it is appropriate that de Kooning's pictures of the 1960's are drained of the anguish and look of despair which so profoundly marked his earlier work. In the new In the new women ['Women' paintings], the mood is Joy.
 * Thomas Hess (1997), welcoming the 'increasingly pastoral paintings' of Willem de Kooning. as quoted in 'A painter's testament: De Kooning in the Eighties', Robert Storr, Moma-website

 * The artist's tool or the traditional artist's brush and maybe even oil paint are all disappearing very quickly. We use mostly commercial paint, and we generally tend toward lager brushes. In a way, Abstract expressionism started this all: De Kooning used house painter's brushes and house painters' techniques.
 * Frank Stella (1966), in 'Questions to [Frank] Stella and [Donald] Judd', Bruce Glaser, in 'Art New 65' no 5, September 196 p. 120

 * In the days before de Kooning establishing himself formally as a painter, Willem de Kooning had a variety of experiences that helped him to define himself. His influences by friends and the times were surprising. Of the singular influences was his relationship to music. In the early thirties,. ..de Kooning made one astonishing and symbolic purchase. Just when the Depression was destroying the livelihood of millions of people, including that of many artists, de Kooning bought the best and most expensive record player money could buy - a miraculous machine that could summon "God and all those angels up there." Called a Capehart high-fidelity system, it was one of the first to change records automatically. It cost then the prodigious sum of $700, more than half of de Kooning's annual salary at A.S. Beck; he got an advance to pay for it. With this purchase, de Kooning announced that he would not use this money to make himself conventionally respectable, even during the hard, early years of the Depression. He did not buy a house or a car, get married, have a baby, or stash away money against hard times. Instead, he professed himself sublimely irresponsible, a man nourished by music rather than mundane realities. And yet, it was still music rather than art that prompted his expansive gesture, for he could not yet find a comparable fluency, vitality, or extravagance in art."
 * M. Stevens & A. Swan (2004) De Kooning. An American Master, New York: A.Knopf. p. 92

title: Willem de Kooning


text:
David Horowitz

David Joel Horowitz (born January 10, 1939) is an American conservative writer and activist. A prominent supporter of Marxism and a member of the New Left in the 1960s, Horowitz later rejected Leftism and now identifies with the right wing of the political spectrum.

1960s

 * Liberation is no longer, and can be no longer, merely a national concern. The dimension of the struggle, as Lenin and the Bolsheviks so clearly saw, is international: its road is the socialist revolution.
 * from the 1969 book Empire and Revolution.

 * More than ever before, for humanity to live under capitalism, is to live on borrowed time.
 * from the 1969 book Empire and Revolution.

 * For the continuing worldwide oppression of class, nation and race, the incalculable waste and untold misery, the unending destruction and preparation for destruction and the permanent threat to democratic order that characterize the rule of capitalism in this, its most technically advanced, most "enlightened" and most materially wealthy era now threaten human survival itself. In the age of atomic weapons and intercontinental missiles, the predatory system of imperialist rivalry and global exploitation, of military intervention and counterrevolutionary war, faces mankind with the prospect of the ultimate barbarism.
 * from the 1969 book Empire and Revolution.

1990s

 * If blacks are oppressed in America, why isn't there a black exodus?

 * In the sociology of the left, including the NAACP, there cannot be a wound the black community inflicts on itself that is not ultimately the responsibility of malicious whites.

 * Blacks who lack a proper killing rage are merely victims of the genocidal campaign that white America is waging against them.
 * from the 1999 book Hating Whitey and Other Progressive Causes.

2001

 * The black middle-class in America is a prosperous community that is now larger in absolute terms than the black underclass. Does its existence not suggest that economic adversity is the result of failures of individual character rather than the lingering after-effects of racial discrimination and a slave system that ceased to exist well over a century ago?

2003

 * On campuses across this country, embedded in the leadership of every radical "anti-war" protest group, are organizations that promote the culture of Islamic terrorism and its anti-Western, anti-Israeli and anti-American agendas. One that will serve as an example for the others is the radical Muslim Student Association (MSA). The Muslim Student Association is an organization financed by the Saudis and also by student funds at every university where it operates. The ideas and enthusiasms that it promotes among impressionable college students should give every American cause for concern.

 * They are radical groups who identify with the violent jihad of Islamacist terror organizations like al-Qaeda, Hizbollah, Islamic Jihad and Hamas. And they have the support of a radical culture that regards America as the Great Satan, and Muslims and Arabs as the people whom America oppresses.

 * Baghdad is liberated. In the days to come let us not forget that if it was not for one man, and one man alone — George Bush — the people of Iraq would not be celebrating in the streets and pulling down Saddam's statues today... We have entered the era of a new civil war between the forces of freedom and the powers of Islamo-fascist and communist darkness, and once again the left is clearly determined to take its stand on the other side. The good news is that America is back. Our military has performed superlatively. Our leadership has stood tall. We ourselves can celebrate over this and look confidently towards what lies ahead.

 * Politics is about winning. If you don’t win, you don’t get to put your principles into practice. Therefore, find a way to win, or sit the battle out.

2006

 * Until the arrival of Arafat and the Palestinian terrorists, Lebanon was a Christian democracy. But Islamic radicalism could not tolerate either Christianity or democracy. This — not the presence of tiny Israel (one hundred times smaller than its current antagonists) is the root cause of the violence in the Middle East. The cause is Arab intolerance and Islamic hate. One Jewish state among 22 Arab states was one too many. Six million Jews among 300 million Arabs was too much to bear. A sliver of land, less than one percent of the Arab land mass, which belonged to first to the Turks and then to the British was an imperialist outrage.

 * The source of the terror in Lebanon as in Iraq is to be found in the Koran and in the despotisms of the Arab Middle East.

2008

 * We are divided not only about political facts and social values, but also about what the Constitution itself means. The crusaders on this issue choose to ignore these problems and are proposing to deny the will of 64 million voters by appealing to five Supreme Court Justices (since no one is delusional enough to think that the four liberal justices are going to take the presidency away from Obama). What kind of conservatism is this?
 * Horowitz speaks about Obama birth certificate doubters.

2009

 * I have written a book with Jacob Laksin about universities called One Party Classroom. Among other things, the title highlights the fact that so-called liberals have purged American faculties of conservative voices. It has been the most successful witch-hunt in American history.

2013

 * I'm an agnostic, but I understand that a book like the Bible that has been around as long as it has, because there is wisdom in it. People don't read over two thousand years, four thousand years, a book that doesn't have wisdom. Think of the story of Genesis. Adam and Eve were given paradise. It's better than anything that Nanci Pelosi promises, the garden of Eden, they didn't have to work, there was no pain, they lived forever, plucked fruit from the trees, but, there was one rule, which was: "Do not eat of the tree of Knowledge of good and evil", don't eat from that tree. Well, our foreparents were too ornery to obey that law and so they were expelled from the garden, and God put an angel with a flaming sword in the entrance to Eden. This is a very important parable for understanding where we are. An angel with a flaming sword to prevent human beings from returning to Eden, only by a divine hand, could we return. The whole agenda of the left, is to return us to Eden.
 * Young America's Foundation conference at the Reagan Ranch Center in Santa Barbara - YouTube

Quotes about

 * In Brazil, it goes like this: communists only read communist authors, (economic) liberals only read liberal authors and so on. Each one is afraid of tarnishing their little soul with sinful thoughts. In order for someone to speak with some propriety about the communist movement, they must have previously studied the following things:

 * 1) The classics of Marxism: Marx, Engels, Lenin, Stalin, Mao Zedong.
 * 2) The most important Marxist philosophers: Lukács, Korsch, Gramsci, Adorno, Horkheimer, Marcuse, Lefebvre, Althusser.
 * 3) Main Currents of Marxism, by Leszek Kolakowski.
 * 4) Some good history and sociology books about the revolutionary movement in general, such as Fire in the Minds of Men, by James H. Billington, The Pursuit of the Millenium, by Norman Cohn, The New Science of Politics, by Eric Voegelin.
 * 5) Good books on the history of communist regimes written from a non-apologetic point of view.
 * 6) Books by the most famous critics of Marxism, like Eugen von Böhm-Bawerk, Ludwig von Mises, Raymond Aron, Roger Scruton, Nicolai Berdiaev and so many others.
 * 7) Books about the communist strategy and tactics on their rise to power, about the underground activities of the movement in the West and chiefly about the "active measures" (disinformation, agents of influence), like those by Anatolyi Golitsyn, Christopher Andrew, John Earl Haynes, Ladislaw Bittman, Diana West.
 * 8) The largest number possible of testimonies by former communist agents and militants who recall their experience in service of the movement or communist governments, such as Arthur Koestler, Ian Valtin, Ion Mihai Pacepa, Whittaker Chambers, David Horowitz.
 * 9) High-value testimonies about human condition in socialist societies, like those by Guillermo Cabrera Infante, Vladimir Bukovski, Nadiejda Mandelstam, Alexander Soljenítsin, Richard Wurmbrand.

 * This is a reading program that can be accomplished in four or five years by a good student. I do not know, either in the Brazilian right or left, anyone, absolutely anyone, who has accomplished it.
 * Olavo de Carvalho, in Estudar antes de falar, Diário do Comércio, 13 August 2013

title: David Horowitz


text:
User talk:Greighton

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User talk:Samson~enwikiquote

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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

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Renamed
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title: User talk:Samson~enwikiquote


text:
User talk:Naglem

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title: User talk:Naglem


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User talk:Cher.amie~enwikiquote

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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Cher.amie. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Cher.amie~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:19, 17 March 2015 (UTC)

Renamed
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title: User talk:Cher.amie~enwikiquote


text:
User talk:Rhetth~enwikiquote

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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Rhetth. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Rhetth~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:34, 17 March 2015 (UTC)

Renamed
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title: User talk:Rhetth~enwikiquote


text:
User talk:Columbia~enwikiquote

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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Columbia. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Columbia~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:20, 17 March 2015 (UTC)

Renamed
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title: User talk:Columbia~enwikiquote


text:
User talk:Davefacey

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title: User talk:Davefacey


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User talk:Kaijura

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User talk:Jojupu

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title: User talk:Jojupu


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User talk:Mbaralt

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title: User talk:Mbaralt


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User talk:Torgivus~enwikiquote

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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Torgivus. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Torgivus~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:37, 17 March 2015 (UTC)

Renamed
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title: User talk:Torgivus~enwikiquote


text:
User talk:Cwalter3

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User talk:Rxman10

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User talk:Jchapmanrn

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title: User talk:Jchapmanrn


text:
User talk:Kynn~enwikiquote

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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Kynn. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Kynn~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:27, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:51, 19 April 2015 (UTC)

title: User talk:Kynn~enwikiquote


text:
Sacha Baron Cohen

Sacha Noam Baron Cohen (born 13 October 1971) is an English comedian, actor, writer and producer. He is best known for his creation and portrayal of the fictional satirical characters Ali G, Borat Sagdiyev, Brüno Gehard, and Admiral General Aladeen. His characters interact with unsuspecting subjects who do not realise they have been set up.

Quotes

 * War! Huh? What is it good for? Well, for start? It sorts out who is the strongest out of the two countries. Also, you get to see some amazing explosions. But, there is some people out there who not only don't enjoy the war, but they try to spoil the fun for everyone else. And those chickens is called the 'U.N.' Me went to New York to meet these player-haters.
 * As quoted in "War" (28 February 2003), Da Ali G Show.

 * I is here standing outside the United Nations of Benetton. Which is where representatives from the three corners of the world come to end wars, international drug trafficking, and everything else that is a bit of a laugh.
 * As quoted in "War" (28 February 2003), Da Ali G Show.

 * I is here with the geezer who was the Secretary-General of the United Nations. His name be none other than my man, Boutros Boutros Boutros-Ghali.
 * As quoted in "War" (28 February 2003), Da Ali G Show.

 * Which is the funniest language? It's French, isn't it?
 * As quoted in "War" (28 February 2003), Da Ali G Show.

 * Is it named after Michael Jordan?
 * As quoted in "War" (28 February 2003), Da Ali G Show

 * Does this country really exist?
 * As quoted in "War" (28 February 2003), Da Ali G Show

 * Is that a real country?
 * As quoted in "War" (28 February 2003), Da Ali G Show

 * With all respect, why do you give crap countries a vote?
 * As quoted in "War" (28 February 2003), Da Ali G Show

 * In Kazakhstan the favorite hobbies are disco dancing, archery, rape, and table tennis.
 * Borat.

 * Thank you to every American who has not sued me so far.
 * At the Golden Globe awards, after receiving the best actor award for comedy for his performance in Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.Time Magazine 16 Jan 2007

 * The moment I appeared the crowd started jeering and booing and shouting ‘faggot’ and spitting, I had hired a bodyguard and when the jeering started I turned to see where the bodyguard was, I could just see the back of his head as he was running out of the stadium.
 * Describing the reaction of a 60,000 crowd of American Football fans and his bodyguard, while appearing as Bruno (the flamboyantly homosexual fashion journalist) at an NFL match

 * I saw some amazing, beautiful, invigorating parts of America, but I saw some dark parts of America, an ugly side of America, a side of America that rarely sees the light of day. I refer, of course, to the anus and testicles of my co-star, Ken Davitian.
 * On his travels to the United States.

title: Sacha Baron Cohen


text:
User talk:90.4.47.217

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 14:23, 18 January 2007 (UTC)

title: User talk:90.4.47.217


text:
Macedonia (region)

Macedonia is a geographical and historical region of the Balkan Peninsula in Southeast Europe. Its boundaries have changed considerably over time; however, it came to be defined as the modern geographical region by the mid 19th century. Nowadays the region is considered to include parts of six Balkan countries: Greece, North Macedonia, Bulgaria, Albania, Serbia, and Kosovo. It covers approximately 67,000 square kilometres (25,869 sq mi) and has a population of 4.76 million. Its oldest known settlements date back approximately to 7,000 BC. From the middle of the 4th century BC, the Kingdom of Macedon became the dominant power on the Balkan Peninsula; since then Macedonia has had a diverse history.

Quotes

 * The Balkan Wars had revealed both the strengths and the limits of Balkan nationalism. Its strength lay in its ferocity. Its weakness was its disunity. The violence of the fighting much impressed the young Trotsky, who witnessed it as a correspondent for the newspaper Kievskaia mysl. Even the peace that followed the Balkan Wars was cruel, in a novel manner that would become a recurrent feature of the twentieth century. It no longer sufficed, in the eyes of nationalists, to acquire foreign territory. Now it was peoples as well as borders that had to move. Sometimes these movements were spontaneous. Muslims fled in the direction of Salonika as the Greeks, Serbs and Bulgarians advanced in 1912; Bulgarians fled Macedonia to escape from invading Greek troops in 1913; Greeks chose to leave the Macedonian districts ceded to Bulgaria and Serbia by the Treaty of Bucharest.
 * Niall Ferguson, The War of the World: Twentieth-Century Conflict and the Descent of the West (2006), p. 76
 * Sometimes populations were deliberately expelled, as the Greeks were from Western Thrace in 1913 and from parts of Eastern Thrace and Anatolia in 1914. In the wake of the Turkish defeat, there was an agreed population exchange: 48,570 Turks moved one way and 46,764 Bulgarians the other across the new Turkish-Bulgarian border. Such exchanges were designed to transform regions of ethnically mixed settlement into the homogeneous societies that so appealed to the nationalist imagination. The effects on some regions were dramatic. Between 1912 and 1915, the Greek population of (Greek) Macedonia increased by around a third; the Muslim and Bulgarian population declined by 26 and 13 per cent respectively. The Greek population of Western Thrace fell by 80 per cent; the Muslim population of Eastern Thrace rose by a third. The implications were distinctly ominous for the many multi-ethnic communities elsewhere in Europe.
 * Niall Ferguson, The War of the World: Twentieth-Century Conflict and the Descent of the West (2006), p. 76-77

 * It was the Byzantine Empire, which was to realize Alexander's idea - Macedonian Panhellenism -in face of an Asia in revolt, and realize it for the Greeks.
 * René Grousset, A. Patterson, "The Sum of History", p. 159.

 * That much I can say, without endless talking and without becoming tiresome, that she [Eusebia] is of a family line that is pure Greek, from the purest of Greeks, and her city is the metropolis of Macedonia.
 * Julian the Apostate, "Praise For The Empress Eusebia", p. 147

title: Macedonia (region)


text:
User talk:207.245.84.70

~ UDScott 17:21, 18 January 2007 (UTC)

title: User talk:207.245.84.70


text:
J. R. "Bob" Dobbs

J. R. "Bob" Dobbs is the figurehead of the Church of the SubGenius. His image is derived from a piece of 1950s clip-art.

The Book of the SubGenius

 * Everyone here is stupid.
 * The SubGenius must have Slack.

 * Act like a dumbshit and they'll treat you like an equal.

 * Don't just eat that hamburger, eat the HELL out of it!

 * Fuck 'em if they can't take a joke.

 * Just because some jackass is an atheist doesn't mean that his prophets and gods are any less false.

 * Pull the wool over your own eyes.

 * Relax in the safety of your own delusions.

 * They may be Pink, but their money's still green!

 * This "Church of the SubGenius" is the best scam I ever pulled.

 * You'll PAY to know what you really think.
 * You know how dumb the average person is? Well, by definition, half of 'em are even dumber than THAT.

 * "Too much" is always better than not enough.

 * I don't practice what I preach because I'm not the kind of person I'm preaching to.

 * Give me (Slack, food, money, a job, etc.), or KILL ME!

 * Eternal Salvation — Or TRIPLE your money back!

 * Do What Keepeth Thou from Wilting Shall Be the Loophole of The Law.

 * I'd rather be lucky than good any day.

 * I always lie . . . and I'm always right.

Revelation X: The "Bob" Apocryphon

 * There are two kinds of people in the world: those who say, "There are two kinds of people in the world: those who say there are two kinds of people in the world, and the other kind," and there's who don't say. Well, then there's me.

 * If you have no Pipe I will give you one; if you do not, I will take it away from you.

 * [on capital punishment] Forgive them first... then kill them.

 * [when asked if he was interested in discovering what was behind the Veil of Illusion] HELL no! I'm interested in what's behind the veil of ORDINARY REALITY.

 * Pull off your pants and roll in your own mistakes.

 * In My Father's Midway Are Many Bumper Car Rides.

 * I choose to believe in an afterlife only because it is too horrible to believe that such a cool stud as myself could be allowed to disappear from the universe. [Diary entry, age 15]

 * There IS no God — but if you're any kind of real American, you'll demand that He treat you as an EQUAL.

 * I am the global village idiot!

 * If humor is based on the misfortune of others, then I suppose you might call me the greatest comedian of all time.

 * Don't forgive them, for they know exactly what they do.

 * The stupider it looks, the more important it probably is.

Online videos

 * SubGenius videos on YouTube

title: J. R. "Bob" Dobbs


text:
User talk:131.162.178.130

~ UDScott 17:48, 18 January 2007 (UTC)

title: User talk:131.162.178.130


text:
User talk:66.106.221.35

~ UDScott 19:15, 18 January 2007 (UTC)

title: User talk:66.106.221.35


text:
User talk:71.247.20.240

- InvisibleSun 23:16, 18 January 2007 (UTC)

title: User talk:71.247.20.240


text:
User talk:69.106.253.250

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 23:39, 18 January 2007 (UTC)

title: User talk:69.106.253.250


text:
User talk:Sdgsdfg~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! Cbrown1023 00:00, 19 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
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 * Be bold.

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Sdgsdfg. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Sdgsdfg~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:34, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:57, 19 April 2015 (UTC)

title: User talk:Sdgsdfg~enwikiquote