From Art Times:
In the summer, (Motherwell) lived and worked in a house on the harbor in Provincetown, Massachusetts. For most of the rest of the year he lived in a stone carriage house in Greenwich, Connecticut. In both places Motherwell created his abstract expressionist canvases and collages in houses that he redesigned to suit his own needs and those of his wife, photographer Renate Ponsold, and family. Both houses were spacious, casual, crammed with paintings and prints — his own and those of other major figures of his era . .
From a conversation taped in Provincetown in June 1986:
How important to you and your work is the place where you live?
RM: I was born in a seaport, and have always preferred to live in one. There is an old European saying that you dress for other people but eat for yourself. I feel the latter way about a home and couldn’t care less what anybody else thinks. What I like is informal, unpretentious – very much a studio feeling.
Have you always worked at home?
RM: From time to time I’ve been invited to work in California, Paris, wherever. I did it once and it was a disaster. I cannot work unless I’m surrounded by my own work and my own things. Most artists feel this way. You know the classic French artist’s studio was a wide room with beds and a kitchenette, slanting skylights and a little balcony. It’s not the bourgeois set-up with every room having an assigned function. The work going on in that open space is the essence of life. If you’re not home, near the studio, you can lose the best moments. There is something demonic about art that can’t be fitted into normal environments and sociability.