“I believe that one should not think so much about nature when painting, at least not during the conception of the picture. Make the color sketch exactly as one has felt something in nature. But my personal feeling is the main thing. Once I have established it, lucid in tone and color, I must bring in from nature the things that make my painting seem natural, so that a layman will only think that 1 have painted it from nature.”

— Paula Modersohn-Becker

quote from her Diaries, 1 October, 1902; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 31
1900 - 1905

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Paula Modersohn-Becker 55

German artist 1876–1907

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“The first thing to change in my painting was the color [c. 1908-09]. I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively I felt that painting had to find a new way to express the beauty of nature.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian about 1905-1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 40

“Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my effort to create an equivalent with paint color for the world – life as I see it.”

Georgia O'Keeffe (1887–1986) American artist

1930s

“When I have to think about it, I know the picture is wrong. And sizing is a form of thinking and coloring is too. My instinct about painting says, 'If you don’t think about it, it's right'. As soon as you have to decide and choose, it's wrong. And the more you decide about, the more wrong it gets. Some people, they paint abstract, so they sit there thinking about it because their thinking makes them feel they're doing something. But my thinking never makes me feel I'm doing anything.”

Andy Warhol (1928–1987) American artist

Source: 1975, The Philosophy of Andy Warhol (1975), p. 149

“Naturally, form has come to take precedence over color with me, though when I began painting color predominated. Slowly artistic evolution carried from color to form and while I still employ color, of course, it is the drawing which assumes the place of first importance in my pictures.”

Francis Picabia (1879–1953) French painter and writer

Quote of Picabia, in an interview in an American newspaper, 1915; as quoted by William A. Camfield, in Francis Picabia: His Art, Life and Times, Princeton, 1979, p.77
Picabia emphasised that line took precedence over colour in his works since 1915
1910's

“When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture.”

John Constable (1776–1837) English Romantic painter

As quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40
1800s - 1810s

“.. [by making his work 'Onement', in 1948].. from then on I had to give up any relation to nature, as seen [by himself till then]. That doesn't mean that I think my things are mathematical or removed from life. By 'nature' I mean something very specific. I think that some abstractions - for example Kandinsky's - are really nature paintings. The triangles and the spheres or circles could be bottles. They could be trees, or buildings. I think that in 'Euclydean Abyss' and 'Onement' I removed myself from nature. But I did not remove myself from life.”

Barnett Newman (1905–1970) American artist

interview, April 1965, edited for broadcasting by the BBC first published in 'The Listener', Aug. 1972; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 37
1960 - 1970, Interview with David Sylvester 1. Spring 1965

“We separate color and drawing because we have to. But nature doesn't. She doesn't give something a shape, for coloring it only afterwards. Form and color are inherent properties of the object that we have got as thing to paint. If we neglect one of both, we only give half.”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Wij scheiden kleur en teekening af, omdat wij dat wel moeten. Maar de natuur doet dat niet. Zij geeft niet iets een vorm, om het daarna te kleuren. Vorm en kleur zijn inhaerente eigenschappen van het voorwerp, dat ons te schilderen is gegeven. Verwaarloozen wij een van beide, dan geven wij slechts de helft.
Quote of Roelofs, in Elsevier's geïllustreerd maandschrift..., Oct. / Nov. 1891; as cited in an excerpt in the RKD Archive https://rkd.nl/explore/excerpts/219, The Hague
undated quotes

“Everything we look at disperses and vanishes. doesn't it? Nature is always the same, and yet its appearance is always changing... Painting must give us the flavour of nature’s eternity. Everything, you understand. So I join together nature's straying hands.... From all sides, here there and everywhere, I select colours, tones and shades; I set them down, I bring them together.... They make lines, they become objects – rocks, trees – without my thinking about them.... But if there is the slightest distraction, the slightest hitch, above all if I interpret too much one day, if I'm carried away today by a theory which contradicts yesterday's, if I think while I'm painting, if I meddle, then woosh!, everything goes to pieces.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 148, in: 'What he told me – I. The motif'

“.. I did a great deal of work [in 1903, Normandy]. And I understood how to transfer nature into colors appropriate to the odor of my soul. I painted a large number of landscapes there, bushes and Breton heads from my window. The pictures were glowing with color. And my inner self was contended.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote of Jawlensky, c. 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 114
1900 - 1935

“I am forced to transpose until finally my picture may seem completely changed when, after successive modifications, the red has succeeded the green as the dominant color. I cannot copy nature in a servile way, I must interpret nature and submit it to the spirit of the picture – when I have found the relationship of all the tones the result must be a living harmony of tones, a harmony not unlike that of a musical composition”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 411

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