Elaine de Kooning

“A painting to me is primarily a verb, not a noun, an event first and only secondarily an image.”

“When I painted my seated men, I saw them as gyroscopes. Portraiture always fascinated me because I love the particular gesture of a particular expression or stance.. .Working on the figure, I wanted paint to sweep through as feelings sweep through..”

“When I painted Frank O'Hara, [in 1962] Frank was standing there. First I painted the whole structure of his face; then I wiped out the face, and when the face was gone, it was more Frank than when the face was there.”

“Always when I look at anyone's art, I get flashes of the person. If I walk into a room and there's a painting by Joan Mitchell, I say, "There's Joannie." Or Grace, if it's Grace Hartigan. And to me all art is self-portraits.”

“[In the past] women painted women: Louise Élisabeth Vigée Le Brun, Mary Cassatt, and so forth. And I thought, men always painted the opposite sex, and I wanted to paint men as sex objects.”

“I always say I'm an escape artist, Style is something I've always tried to avoid. I'm more interested in character. Character comes out of the work. Style is applied or imposed on it.”

“Nowadays, when an artist discovers 'the sky,' it's like a bride who has never done any housework raving about her first vacuum cleaner. It's just not news." (Yet she confessed that the experience prompted her to deviate from a more controlled linear style and work freely with lively, confrontational colors directly influenced by the Southwest)”

“When Miss Nochlin says: 'If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.' Well, I think the status quo in the arts is fine as it is - in this country [America] at least, women have exactly the same chance that men do. There are the same schools, museums, galleries, books, art stores. There are no obstacles in the way of a woman becoming a painter or sculptor other than the usual obstacles that any artist has to face.”

“In shows selected by artists where there is no consciousness of sex, as in the American Abstract Artist Shows which began in the late 1930's or the Artists Annuals of the early 1950's, the ratio [between male and female artists presented there] seemed to be between one third and one quarter women. The only way to arrive at a true ratio, I suppose, would again be to have artist-juried shows.”