Use and respond to the initial fresh qualities but consider them absolutely expendable. — Richard Diebenkorn Copy Share Image
I keep plastering it until it comes around to what I want, in terms of all I know and think about painting now, as well as in terms of the initial observation. — Richard Diebenkorn Copy Share Image
I trust the symbol that is arrived at in the making of the painting. Meaningful symbols aren't invented as such, they are made or… — Richard Diebenkorn Copy Share Image
Abstract means literally to draw from or separate. In this sense every artist is abstract for he must create his own work from his… — Richard Diebenkorn Copy Share Image
I don't go into the studio with the idea of 'saying' something. What I do is face the blank canvas and put a few… — Richard Diebenkorn Copy Share Image
And I can just see that sometimes the technique is blasting powder rather than steady struggle. — Richard Diebenkorn Copy Share Image
All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. To call this… — Richard Diebenkorn Copy Share Image
In a successful painting everything is integral - all the parts belong to the whole. If you remove an aspect or element you are… — Richard Diebenkorn Copy Share Image
One wants to see the artifice of the thing as well as the subject. — Richard Diebenkorn Copy Share Image
I would like the colors, their shapes and positions to be arrived at in response to and dictated by the condition of the total… — Richard Diebenkorn Copy Share Image
With rare exceptions, I respond most to painting that cuts across grain rather than following it. I think the artist here can get in… — Richard Diebenkorn Copy Share Image
Somehow don't be bored, but if you must, use it in action. Use its destructive potential. — Richard Diebenkorn Copy Share Image
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would… — Richard Diebenkorn Copy Share Image
