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Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not … - Arshile Gorky
" "Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it.. .Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality.
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About Arshile Gorky
Arshile Gorky (15 April 1904 – 21 July 1948), born Vostanik Manoog Adoyan, was an American abstract expressionist painter of Armenian descent, living and working in New York, where he got later strongly involved with American Surrealism. He was a very close friend of Willem de Kooning who respected him as a teacher in painting.
Also Known As
Native Name:
Արշիլ Գորկի
Alternative Names:
Ostanik-Manuk Adoian
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Arshil Gorʹkiĭ
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Arshile Gorky Adoian
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Arshil Gorky
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Osdanig-Manug Atoyan
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Arshil Gorki Adoyan
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Wostanig Adoyan
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Vosdanig Manoog Adoian
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Ostanik-Manuk Adoyan
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Arshil Gorki
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Ostanik-Manuk Adoyean
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Osdanig-Manug Atoian
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Vostanik-Manuk Adoian
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Arschille Gorky
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Vosdanik Adoian
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Arshele Gorky
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Vosdanig Adoian
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Archele Gorky
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Archel Gorky
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Archele Gorki
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Arshile Gorkij
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Adoian Gorky
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a. gorky
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Additional quotes by Arshile Gorky
It is true – is it not – that even Ingres [French classical painter, famous for his line] had to revise – yes, the surface of the painting is smooth, finished and incorruptible as a diamond, but under the accomplished surface are pentimenti – see there at the shoulder, how the line of the black dress was lowered qua fraction and the hand was extended to give greater elegance.. .Are these not signs of the patient revision that even a genius has to make.
An epidemic of destruction sweeps the world today. The mind of civilized man is set to stop it. What the enemy would destroy, however, he must first see. To confuse and paralyze this vision is the role of camouflage. Here the artist and more particularly the modern artist can fulfill a vital function for opposed to this vision of destruction is the vision of creation. Historically, it has been the artist's role to make manifest the beautiful inherent in all the objects of nature and man. In the study of the object, as a thing seen, he has acquired a profound understanding and sensibility concerning its visual aspects..
Rimbaud has epitomized for me the true function of the artist when he wrote: 'The poet should define the quantity of the unknown which awakes in his time, in the universal soul. He should give more than the formula of his thought, than the annotation of his march toward progress. The enormous becoming the normal, when absorbed by everyone, he would really be a multiplication of progress.'
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