Philip Pearlstein - From the Composition category:
I try to find a compositional structure in the subject itself, in nature... I rely on the angle where the wall meets the floor as a constant reference point, and against that I oppose the movements of the model's limbs. (Philip Pearlstein)
Philip Pearlstein - From the Expression category:
I decided that expressionism was a cheap way of getting a reaction – show anybody ripped apart, and you get sympathy. I was deliberately trying to show the human body as whole and relatively healthy. (Philip Pearlstein)
Philip Pearlstein - From the Humanity category:
There will always be those who want to make paintings of the human form with all its parts all where they should be, in spite of progress. (Philip Pearlstein)
Philip Pearlstein - From the Humanity category:
I have saved the figure from its tormented agonized condition given it by expressionistic artists, and the cubist dissectors and distorters of the figure, and at the other extreme, I have rescued it from the pornographers, and their easy exploitations of the figure for its sexual implications. (Philip Pearlstein)
Philip Pearlstein - From the Joy category:
I get my highs from using my eyes. (Philip Pearlstein)
Philip Pearlstein - From the Lines category:
It is what is painted between the outlines that makes the difference between merely competent painting and really meaningful art. (Philip Pearlstein)
Philip Pearlstein - From the Models category:
Only the mature artist who works from a model is capable of seeing the body for itself, only he has the opportunity for prolonged viewing. (Philip Pearlstein)
Philip Pearlstein - From the Observation category:
Look slowly and hard at something subtle and small. (Philip Pearlstein)
Philip Pearlstein - From the Photography category:
The effort of painting from life has cost my models a great deal of physical discomfort, and cost me a great deal of money in model fees... I have wanted to make the camera obsolete... because, in my reading about early 20th century art, I found that the most frequently used argument made in favor of abstraction was that the camera made realist painting obsolete. (Philip Pearlstein)
Philip Pearlstein - From the Realism category:
-1960's commitment to John Perrault's manifesto of the new realism... 'No stories; no allegories; no symbols. No hidden meanings; no obvious meanings. No philosophy, religion, or psychology. No jokes.
No political content. No illustration. No fantasy or imagination; no dreams; no poetry.' (Philip Pearlstein)
Philip Pearlstein - From the Realism category:
I suggest that it is the honesty of the attempt to recreate the forms and spaces visually without artistic editing that is one of the hallmarks of realist painting. (Philip Pearlstein)
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