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"The procedure was that an artist got a mural and then he would have anywhere from two to ten assistants depending on the size of the mural and how many assistants he needed, or she needed."
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"And it seemed at last that there were two musics progressing at one time before the seat of IlAovatar, and they were utterly at variance. The one was deep and wide ad beautiful, but slow and blended with an immeasurable sorrow from which its beauty chiefly came."
"The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time."
"The discipline of creation, be it to paint, compose, write, is an effort towards wholeness."
"Let music ignite your vivid inner colors and bring you harmony inside and out."
"A work of art has no importance whatever to society. It is only important to the individual."
"The effort of art is to keep what is interesting in existence, to recreate it in the eternal."
Explore more quotes by Lee Krasner
"People were very affected by the war. But it didn't mean you stopped painting unless you were called into the Army; then you just couldn't paint. But otherwise one continued."
"The Jumble Shop would be one place where we'd sometimes accumulate down in the Village. I think it might be just a place that's unknown that was right around the corner from wherever it was that we met."
"At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you."
"Well, I'd say that the beginning of this thing came through with Art of This Century, Peggy Guggenheim's, where she opened this gallery and began showing some things that caused a little talk, amongst a lot of other things."
"You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in."
"With Jackson there was quiet solitude. Just to sit and look at the landscape. An inner quietness. After dinner, to sit on the back porch and look at the light. No need for talking. For any kind of communication."
"Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced."
"I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it."
"Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable."
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