One can never know enough. The unknown and its call lies even in what we know.
No, I have not a drop of what they call white blood in my veins. My father was a full blooded Negro, and my mother was a full blooded Chippewa.
I want to grow as an artist, and I'm taking a step out. I want my music to mature.
I thought I knew everything when I came to Rome, but I soon found I had everything to learn.
Early on I saw the plastic quality in colored people and had friends among them; and later was to work from colored models and friends, including Paul Robeson, whose splendid head I worked from in New York. I tried to draw Chinamen in their quarter, but the Chinese did not like being drawn and would immediately disappear when they spotted me.
There are infinite modes of expression in the world of art, and to insist that only by one road can the artist attain his ends is to limit him.
And so I put down some of the things that he said, about keeping your tools sharpened and not letting them lie on the ground where they get hurt or get abused and dirty and can't find them. And some thoughts about how his father used to do things.
I chose to deal with the science of cryptography. Cryptography began in mathematics. Codes were developed, even from Caesar's time, based on number theory and mathematical principles. I decided to use those principles and designed a work that is encoded.
There are unknown forces in nature; when we give ourselves wholly to her, without reserve, she lends them to us; she shows us these forms, which our watching eyes do not see, which our intelligence does not understand or suspect.
My reading and drawing drew me away from the ordinary interests, and I lived a great deal in the world of imagination, feeding upon any book that fell into my hands. When I had got hold of a really thick book like Hugo's 'Les Miserables,' I was happy and would go off into a corner to devour it.
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
I believe and find in my study of art that the real artist is nine-tenths of the time a craftsman, and it is only in that small one-tenth of the time that he rises to the elevated position of a prophet and a master.
I believe that nothing should be taboo - no theory or prejudice should close one's mind to a discovery.
I have been back in Paris for two weeks. Nothing new. Life is still bitter.
Each work has its own space, which should neither be conceived as a sort of cage nor regarded as extending to infinity.
You may go from the Battery to Harlem, and in our monuments and statues of public men you will see the slavish adherence to Greek and Roman ideals, from which our artists cannot get away.
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