William Baziotes Quotes

In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings.

We are getting mixed up with the French tradition. In talking about the necessity to 'finish' a thing, we then said American painters 'finish' a thing that looks 'unfinished', and the French, they 'finish' it. I have seen Henri Matisse's that were more 'unfinished' and yet more 'finished' than any American painters. Matisse was obviously in a terrific emotion at the time and he was more 'unfinished' than 'finished'.

One can begin a picture and carry it through and stop it and do nothing about the title at all.

Today it's possible to paint one canvas with the calmness of an ancient Greek and the next with the anxiety of a Van Gogh. Either of these emotions, and any in between, is valid to me.. .I work on many canvasses at once. In the morning I line them up against the wall of my studio. Some speak, some do not. They are my mirrors. They tell me what I am like at that moment.

I think the reason we [Baziotes himself and Richard Lippold ] begin in a different way, is that this particular time has gotten to a point where the artist feels like a gambler. He does something on the canvas and takes a chance in the hope that something important will be revealed.

Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.

As for the subject matter in my painting...it is very often an incidental thing in the background, elusive and unclear, that really stirred me.

There is always an unconscious collaboration among artists.. ..the artist who imagine himself a Robinson Crusoe is either a primitive or a fool.

I think when a man first discovers that two and two is four, there is 'beauty' in that; and we can see why. But if people stand and look at the moon and one says 'I think it's just beautiful tonight' and the other says 'The moon makes me feel awful' we are both 'clear'. A geometric shape – we know why we like it; and an unreasonable shape; it has a certain mystery that we recognize as real; but it is difficult to put these things in an objective way.

One hundred artists introduce us to one hundred worlds.

Contact with other artists has always been of great importance to me. When the artists I know best used to meet.. ..the talk was mostly of ideas in painting. There was an unconscious collaboration between artists. Whether you agreed or disagreed was of no consequence. It was exciting and you were compelled to paint over your head... .If your painting was criticized adversely, you either imitated someone to give it importance, or you simply suffered and painted harder to make your feelings on canvas convincing.. .What does happen when artists meet is that we are able to see more clearly the unfolding of character as time goes on.

I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished.

The emphasis on flora, fauna, and beings makes the exhibit a most intriguing and artistic one for it brings forth those strange memories and psychic feelings that mystify and fascinate all of us. [his remark in 1957]

The eye seems to be responding to something living.

The large gray spiked form rising from the bottom of the picture is to me the symbol of death and ruin. And finally the black ovoid form is the symbol of fire, lava and destruction.