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Oh, early Kandinsky.. [stuck her early] .Well no, they had that at the Art Institute in Chicago, don't forget. See, everybody, to do 'modern art' the… - Joan Mitchell
" "Oh, early Kandinsky.. [stuck her early] .Well no, they had that at the Art Institute in Chicago, don't forget. See, everybody, to do 'modern art' then [New York, mid-forties], seemed to me, when you were going 'modern' [both chuckle], it was Picasso. I mean, everybody. But I avoided that like the plague. I thought.. .I loved Picasso, but it just wasn't for me.. .Well, I don't! I have some of those [early] paintings from LeLavandou - they're in storage - and from Mexico. They were Expressionist landscapes, or boats on the beach or something like that, which I still do. Sort of going abstract, going towards..
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About Joan Mitchell
Joan Mitchell (February 12, 1925 – October 30, 1992) was an American "second generation" Abstract expressionism painter and printmaker. She was an essential member of the American abstract expressionist movement, even though much of her career took place in France and from 1959 her definite place.
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I might get an idea [for the start of a painting] sitting looking at the river, or something, or a specific.. ..Yeess. I'm sure, yes, I'm sure it [the environment] influences me in terms of green and gray and color and.. .I mean, New York light is so different, and it always hits me when I come here [in New York], and it excites me to see great extremes of dark and light and no nuance - which I love. But there the Isle de France [round about Paris] has that, you know, filtered light that is that.. where even on a gray day, the green is very green, and the red is very red.. ..I think walking out barefoot and moving the paintings, being able to move them out of my studio [in Vetheuil] for transportation, things like that have had [influence].. .As well as the landscape. Lake Michigan was pretty important, you know.
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[being a woman in the Artists Club, there were] Elaine Elaine de Kooning, Mercedes Matter.. .Well May Rosenberg, but she wasn't a painter. Jane Freilicher. Nell Blaine.. .Well, there were Grace [ Grace Hartigan ] and Helen [ Helen Frankenthaler ], of course.. .How did I feel, like how? I felt, you know, when I was discouraged I wondered if really women couldn't paint, the way all the men said they [the women] couldn't paint. But then at other times I said, 'Fuck them,' you know. But I think the women were, some of them, more down on women than the men.. .I adulated the men so much they sort of liked me. I mean, I thought Bill [ Willem deKooning ] was a great painter. They liked me.. .Hans Hofmann was very supportive -of me. I used to run into him in the park. I'd be dog-walking at nine in the morning, he'd say, 'Mitchell, you should be painting.' Very nice. [both chuckle] I don't think women in any way were a threat to these men, so they could encourage the 'lady painter.'
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