“As for 'taste' as a criterion of painting I find that it is most frequently applied to work that is essentially insensitive, brutal or vulgar beyond question. Could it now be a term with political undertones to seduce, or cover profounder motives of exploitation? I propose it be kept to the wine cellar. There it deceives no one but him who over-indulges.”

— Clyfford Still

Clyfford Still, in an interview with Ti Grace Sharpless, 1963; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 201
1960s

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Clyfford Still15

American artist 1904–1980

William Henry Maule (1788–1858) British politician

Reg. v. Burton (1854), Dearsly's C. C. 284.

“It was like discovering a complete wine-filled cellar filled with bottles of an amazing wine of a kind and flavor never tasted before. It quite intoxicated me….”

John Ronald Reuel Tolkien (1892–1973) British philologist and author, creator of classic fantasy works

No. 163: On his discovery of Finnish language, in a letter to W. H. Auden (1955)
The Letters of J. R. R. Tolkien (1981)

“I do both: I make preliminary drawings, other times I paint directly, other times I start a painting and then paint it out so that it becomes another painting or nothing at all. If a painting doesn't work, throw it out. When I work from preliminary sketches, I don't just enlarge these drawings, but plan my areas in a large painting by using small drawings for separate areas. I combine them in a final painting, often adding to or subtracting from the original sketches.... There are certain canvases here in my studio - the little one over there – that I've worked on for a good six months – painting most of it out and then painting it over and over again. I think I've got it now.”

Franz Kline (1910–1962) American painter

1958
1960's, Talks with Seventeen Artists, 1962

“What I have created here in Italy is neither very big nor profound (in the old sense of the word), but formidable. This summer I painted paintings that are the most profound that exist in the absolute. Let me explain these things somewhat.... profoundness as I understand it, and as Nietzsche intended it, is elsewhere than where it has been searched for until now.”

Giorgio de Chirico (1888–1978) Italian artist

My paintings are small (the biggest is 50 x 70 cm), but each of them is an enigma, each contains a poem, an atmosphere (Stimmung) and a promise that you can not find in other paintings. It brings me immense joy to have painted them – when I exhibit them, possibly in Munich this spring, it will be a revelation for the whole world <br class="br">Quote from De Chirico's letter to Mr. Fritz Gartz, Florence, 26 Jan. 1910; from LETTERS BY GIORGIO DE CHIRICO, GEMMA DE CHIRICO AND ALBERTO DE CHIRICO TO FRITZ GARTZ, MILAN-FLORENCE, 1908-1911 http://www.fondazionedechirico.org/wp-content/uploads/559-567Metafisica7_8.pdf, p. 562 <br class="br">1908 - 1920

“Plainly plenty of work was waiting to be done. The question was: would the State Department do it? I proposed to have a shot at finding out.”

Dean Acheson book Present at the Creation: My Years in the State Department

Present at the Creation: My Years in the State Department (1969), State Department Management, Leadership Perspectives

“At present, I am particularly excited by 'bad taste'. I have the deep feeling that there exists in the very essence of bad taste a power capable of creating those things situated far beyond what is traditionally termed 'The Work of Art.'”

Yves Klein (1928–1962) French artist

I wish to play with human feeling, with its 'morbidity' in a cold and ferocious manner. Only very recently I have become a sort of gravedigger of art (oddly enough, I am using the very terms of my enemies). Some of my latest works have been coffins and tombs. During the same time I succeeded in painting with fire, using particularly powerful and searing gas flames, some of them measuring three to four meters high. I use these to bathe the surface of the painting in such a way that it registered the spontaneous trace of fire.
Quote from Klein's 'Chelsea Hotel Manifesto', 1961; from the Yves Klein Archives - archived from the original on 15 January 2013; as cited on Wikipedia: Yves Klein
After the opening of his unsuccessful exhibition at Leo Castelli's Gallery, New York 1961, Klein stayed with Rotraut Uecker (fr) at the Chelsea Hotel for the duration of the exhibition. While there, he wrote the 'Chelsea Hotel Manifesto', a proclamation of the 'multiplicity of new possibilities'
1960 -1964