APPROACHES - In The Words Of . . . .
From: Ferrier, Jean-Louis, Director and Yann le Pichon, Walter D. Glanze [English Translation]. Art of Our Century, The Chronicle of Western Art, 1900 to the Present. New York: Prentice-Hall Editions. 1988.
The artist has but one idea. He is born with it, and spends a lifetime developing it and making it breathe.
A painter is completely whole in his first works.
I believe that the personality of the artist develops and asserts itself by the struggles that it must wage against other personalities.
Being an artist is a matter of learning, and perhaps relearning, the language of writing by lines.
Artistic creation acquires quality only when it comes up against difficulties.
Art imitates nature. By virtue of creative action, a work of art takes on a living quality. Thus the work will appear fruitful and endowed with that same internal energy and vibrant beauty that can be seen in works of nature.
When I use green, that does not mean grass. When I use blue, that does not means the sky.
Color helps to explain light. I do not refer to the physical phenomenon of light but, rather, the only kind of light that truly exists, that of the mind of the artist.
An avalanche of colors never has any force.
Color attains its full expression only when it is organized, when it corresponds to the intensity of the artist's emotions.
What counts most in coloring a picture is relations. Because of these relations and only because of them, a drawing can be intensely colored without having to use any colors.
My drawing is the direct and purest translation of my emotion.
As soon as my emotionally charged line has channeled the light of my white sheet of paper, without sacrificing its touching quality of whiteness, I cannot add anything to it or take anything from it. The page is written; no correction is possible. If it is inadequate, I can only begin again as an acrobat would.
Someone once told me there was a difference between the way I saw women and my depiction of them. I answered by saying that if I ever in real life saw such women as I represented in my pictures, I would be terrified. I do not create a woman; I draw a picture.
I basically work without a theory. I am aware only of the forces I use, and I move along the course of the picture's creation, pushed by an idea that I come to know only gradually as it develops.
[An Exerpt From: Ferrier, Jean-Louis, Director and Yann le Pichon, Walter D. Glanze [English Translation]. Art of Our Century, The Chronicle of Western Art, 1900 to the Present. New York: Prentice-Hall Editions. 1988. p. 511]
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