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The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the lan
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the lan
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the lan
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the lan
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the lan
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the lan
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Kenneth Noland:
As time goes on, I realize more and more that, beginning in the early 30's, David Smith began settiKenneth Noland:
Because of this the representation I'm interested in is of those things only the eye can touch.Kenneth Noland:
Clem had made it known that Pollock was a great painter.Kenneth Noland:
Context begins with other artists - seniors and mentors.Kenneth Noland:
For me context is the key - from that comes the understanding of everything.Kenneth Noland:
I met David Smith through my former wife, Cornelia, who'd studied with him.Kenneth Noland:
I think of painting without subject matter as music without words.Kenneth Noland:
I've also been willing to share any help that I could give to any other artist.Kenneth Noland:
In the '50s Morris Louis and I were not known, David Smith and Helen Frankenthaler were not much knKenneth Noland:
Pollock was well known, certainly, but for all the wrong reasons. He was known as much for being wi