Guston Quotes

#1. Guston tacked toward celebrating the crap of life not for its own ironic sake, but as the ever-present still life that surrounds the embarrassingly, even tragically human. No Duchampian object is ever tragic. Many if not most of Guston's objects, even the most hilarious, are.

Ross Feld

#2. When I see people making 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough. That is to say, there is you painting and this canvas. I think there has to be a third thing; it has to be a trialogue.

Philip Guston

#3. I do not see why the loss of faith in the known image and symbol in our time should be celebrated as a freedom. It is a loss from which we suffer, and this pathos motivates modern painting and poetry at its heart.

Philip Guston

#4. Sometimes I scrape off a lot. You have on the floor, like cow dung in the field, this big glob of paint ... and it's just a lot of inert matter, inert paint. Then I look back at the canvas, and it's not inert - it's active, moving and living.

Philip Guston

#5. The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. What sympathy is demanded of the viewer? He is asked to 'see' the future links.

Philip Guston

#6. Look at any inspired painting. It's like a gong sounding; it puts you in a state of reverberation.

Philip Guston

#7. It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.

Philip Guston

#8. I'm not interested in painting; I'm not interested in making a picture. Then what the hell am I interested in? I must be interested in this process.

Philip Guston

#9. If the artist starts evaluating himself, it's an enormous block, isn't it?

Philip Guston

#10. You know, comments about style always seem strange to me - 'why do you work in this style, or in that style' - as if you had a choice in the matter ... What you're doing is trying to stay alive and continue and not die.

Philip Guston

#11. There is something mysterious in this work that I do not ever what to discover.

Philip Guston

#12. To paint is always to start at the beginning again, yet being unable to avoid the familiar arguments about what you see yourself painting.

Philip Guston

#13. Probably the most potent desire for a painter, an image-maker, is to see it. To see what the mind can think and imagine, to realize it for oneself, through oneself, as concretely as possible.

Philip Guston

#14. To will a new form is unacceptable, because will builds distortion. Desire, too, is incomplete and arbitrary. These strategies, however intimate they might become, must especially be removed to clear the way for something else ...

Philip Guston

#15. Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics ... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.

Philip Guston

#16. Painting is an illusion, a piece of magic, so what you see is not what you see.

Philip Guston

#17. Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanishes, and the paint falls into positions that feel destined.

Philip Guston

#18. Painting seems like impossibility, with only a sign now and then of its own light.

Philip Guston

#19. There comes a point when the paint doesn't feel like paint. I don't know why. Some mysterious thing happens. I think you have all experienced it ... What counts is that the paint should really disappear, otherwise it's craft.

Philip Guston

#20. There's some mysterious process at work here, which I don't even want to understand.

Philip Guston

#21. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.

Philip Guston

#22. I should like to paint like an man who has never seen a painting, but this man -myself - lives in a museum.

Philip Guston

#23. Many works of the past complete what they announce they are going to do, to our increasing boredom. Certain others plague me because I cannot follow their intentions. I can tell at a glance what Fabritius is doing, but I am spending my life trying to find out what Rembrandt was up to.

Philip Guston

#24. In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?

Philip Guston

#25. Lots of artists who paint have the experience to one degree or another ... where their thinking doesn't precede their doing ... It's a funny thing, what I really hate yet I have to go through with it, is the preparation.

Philip Guston

#26. We are image-makers and image-ridden ... We work until we vanish.

Philip Guston

#27. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear ... making itself, the image taking hold. This in turn moves me toward painting - anxious to get to the same place, with the actuality of paint and light.

Philip Guston

#28. More than a process, painting is being possessed ...

Philip Guston

#29. I go to the studio everyday because one day I may go and the Angel will be there. What if I don't go and the Angel comes?

Philip Guston

#30. Frustration is one of the great things in art. Satisfaction is nothing.

Philip Guston

#31. Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe.

Philip Guston

#32. That's what I mean by something grips in a canvas. The moment that happens you are then sucked into the whole thing. Like some kind of rhythm.

Philip Guston

#33. Do I really believe that? I make a mark, a few strokes, I argue with myself, not do I like or not, but is it true or not? Is that what I mean, is that what I want?

Philip Guston

#34. All these troubles revolve around the irritable mutual dependence of life and art - with their need and contempt for one another. Of necessity, to create is a temporary state and cannot be possessed ...

Philip Guston

#35. To paint is a possessing rather than a picturing.

Philip Guston

#36. I am a night painter, so when I come into the studio the next morning the delirium is over.

Philip Guston

#37. There are so many things in the world - in the cities - so much to see. Does art need to represent this variety and contribute to its proliferation? Can art be that free? The difficulties begin when you understand what it is that the soul will not permit the hand to make.

Philip Guston

#38. The painting is not on a surface, but on a plane which is imagined. It moves in a mind. It is not there physically at all. It is an illusion, a piece of magic, so that what you see is not what you see.

Philip Guston

#39. What is seen and called the picture is what remains - an evidence. Even as one travels in painting toward a state of 'unfreedom' where only certain things can happen, unaccountably the unknown and free must appear.

Philip Guston

#40. Painting seems like some kind of peculiar miracle that I need to have again and again.

Philip Guston

#41. I feel more as if I'm shaping something with my hands. I feel as if I've always wanted to get to that state. Like a blind man in a dark room had some clay, what would he make? I end up with 2 or 3 forms on a canvas, but it gets very physical for me.

Philip Guston