“Painting has nothing to do with thinking, because in painting thinking is painting. Thinking is language – record-keeping – and has to take place before and after. Einstein did not think when he was calculating: he calculated – producing the next equation in reaction to the one that went before – just as in painting one form is a response to another and so on.”

—  Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

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Gerhard Richter photo
Gerhard Richter 96
German visual artist, born 1932 1932

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Gerhard Richter photo

“To talk about paintings is not only difficult but perhaps pointless, too. You can only express in words what words are capable of expressing, what language can communicate. Painting has nothing to do with that... Painting is another form of thinking.”

Gerhard Richter (1932) German visual artist, born 1932

Quote, 1970's; from the documentary 'Gerhard Richter - Painting', Corrinna Belz, 2011
1970's

Henri Matisse photo

“There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.”

Henri Matisse (1869–1954) French artist

As quoted in obituaries (5 November 1954)
1950s

“My primary concern is visual form. The visual meaning may be discovered afterwards – by those who look for it. Two meanings have been ascribed to these American Flag paintings of mine. One position is: 'He's painted a flag so you don't have to think of it as a flag but only as a painting'. The other is: 'You are enabled by the way he has painted it to see it as a flag and not as a painting.”

Jasper Johns (1930) American artist

Actually both positions are implicit in the paintings, so you don't have to choose.
The Insiders, Rejection en Rediscovery of Man in the Arts of our Time, Selden Rodman, Baton Rouge, Louisiana State University Press, 1960, Chapter 6.
1960s

Roy Lichtenstein photo

“Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He’s working with paint, not nature; he’s making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I’m using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“Painting has a nature which is not entirely translatable into verbal language. I think painting is a language, actually. It's linguistic in a sense, but not in a verbal sense. I think that one wants from painting a sense of life. And I think that is true. One wants to be able to use all of one’s facilities in all aspects of one’s life... You may have to choose how to respond and you may respond in a limited way, but you have been aware that you are alive. The final suggestion, the final statement, has to be not a deliberate statement but a helpless statement.”

Jasper Johns (1930) American artist

interview with Johns conducted in 1975 at Johns’ studio by Yoshiaki Tono, as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 89
1970s

“… as a matter of fact it is nice to paint a happy picture after a sad one. I think there is a kind of loneliness in a lot of them which I don't think about as the fact that I'm lonely and therefore I paint lonely pictures, but I like kind of lonely things anyhow; so if the forms express that to me, there is a certain excitement that I have about that.... What I try to do is to create the painting so that the overall thing has the particular emotion; not just the forms in it.... in other words, there's a particular static or heavy form that can have a look to it, an experience that translated through the form; so then it does have a mood. And when that is there, well then it becomes it becomes a painting whereas all the other pictures that have far more interesting shapes and so on, don't become that to me.”

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

Aristide Maillol photo

“When Picasso does pure painting he is a great artist. When he paints as an cubist, putting one tone next to another, the arrangement of planes is fine and the result very strong. But those who imitate him achieve nothing worthwhile.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 407

“I don't think of my work as calligraphic. Critics also describe Jackson and De Kooning as calligraphic painters but calligraphy has nothing to do with us. It's interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing. People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.”

Franz Kline (1910–1962) American painter

Quote, (1958)
1960's, Talks with Seventeen Artists, 1962

“I make what it pleases me to make.... I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason. I intuitively paint flags.”

Jasper Johns (1930) American artist

Quote of Jasper Johns, as cited in Trend to the Anti-Art: Targets and Flags, Newsweek 51 no. 13, March 1958, p. 96
1950s

Georgia O'Keeffe photo

“The clean clear colours [of a Shanty farm] were in my head. But one day as I looked at the brown burned wood of the Shanty, I thought 'I can paint one of those dismal-coloured paintings like the men. I think just for fun I will try — all low-toned and dreary with the tree besides the door.' In my next show [c. 1923], 'The Shanty' went up. The men seemed to approve of it. They seemed to think that maybe I was beginning to paint…. that was my only low-toned dismal-coloured painting.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)

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