American - Artist | September 13, 1928 -
I never had the exposure to techniques and so forth that children have today with art workshops, but I always had crayons and pencils and still have work going right back to when I was five or six years old.
Robert Indiana
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Many, many of my paintings have come from the first chapter of Moby Dick.
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'LOVE' bit me. It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular.
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The American Dream - that's our folly. That's our folly. Look where we're ending up.
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The messages that my work might contain, the verbal aspects, the use of words, certainly I never mean for it to be more than - shall we say? - fifty percent of the total, and sometimes my active interest is much less than that. It is the formal aspect of my painting which fascinates me most.
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The actual technique, the process of painting flat color and simple geometric edges, all dates from my time here on Coenties Slip.
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When I was painting portraits and - shall we say? - rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.
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I paint the American scene.
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Love is a dangerous commodity - fraught with peril.
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I didn't think much about Marsden Hartley until very recently, but Gertrude Stein found him to be the best American painter in Europe at the time she was alive. I consider my tributes to him my most important works.
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I'm a little disappointed in what's happened. I'm beginning to lose faith in Obama. This Syria thing is ridiculous. He should not be drawing red lines.
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Those damned Abstract Expressionists. They were a major problem. Because the critics adored them to such an extent, reams and reams, pages and pages of articles about Abstract Expressionists, when we came along, we were just not taken seriously at all.
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