“It is not a recognisable scene [his two paintings 'Dances at the spring', 1912 - Picabia painted the motion and the excitement of a peasant dance while he was on his honeymoon in the countryside of Italy; one version is lost]. There is no dancer, no spring, no light, no perspective, nothing other than the visible clue of the sentiments I am trying to express... I would draw your attention to a song of colours, which will bring out for others the joyful sensations and feelings inspired in me on those summer days when I found myself somewhere in the country near the Italian border, where there was a spring in a wonderful garden. A photograph of that spring and that garden would in now way look like my painting 'Dance at a spring' I was shown for the first time at the w:Salon d'Automne in Paris in 1912.”

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 200
1920's

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Francis Picabia11

French painter and writer 1879–1953

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“One sunny spring day I heard the music coming down Karl Johan [street] and it filled me with joy. The spring, the sun, the music, all blended together to make me shiver with pleasure. The music added colour to the colours. I painted the picture [his painting 'Music on Karl Johan'] allowing the colours to reverberate with the rhythm of the music. I painted the colours as I saw them at that moment.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote in 'Livsfrisen tilblivelse', Blomqvist, Oslo 1929, p. 12
1896 - 1930

“Let's dance — put on your red shoes and dance the blues.
Let's dance — to the song they're playin' on the radio.
Let's sway — while colour lights up your face.
Let's swa —, sway through the crowd to an empty space.”

David Bowie (1947–2016) British musician, actor, record producer and arranger

Let's Dance — Video at YouTube http://www.youtube.com/watch?v=NelPivNLPZ8 <br class="br">Song lyrics, Let's Dance (1983)

“Everything is love. "HEAVEN ON EARTH" our idea of heaven has been formed by painting and nothing else. I love pure, bright colours, their intellectual clarity of expression conveying nothing but feeling. Painting - the inspired animation of the surface.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

“There was a wild light in his eyes. "Bring your lightnings, Aes Sedai. I will dance with them.”

Robert Jordan The Great Hunt

Source: The Great Hunt

“[David Sylvester asked Gottlieb, he is aware of the impact of the city New York on his painting:] Definitely I am. When I was in Paris last spring, my original plan was to go for four months and to paint there, and a number of people urged me to stay. That wanted to see what would happen, how my painting would change. But I felt strongly after being there less than a month that it was necessary for me to come back to New York, because I feel a certain rhythm in New York I don't feel in Paris.... there is a tempo in the life of New York which is exhilarating and I feel that this gets into one's painting. It's the pulse, not the look. I'am not involved with the external appearance of the city; it’s the vibrations. ]”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in ‘Living Arts, June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 33
1960s

“If a dancer dances - which is not the same as having theories about dancing or wishing to dance or trying to dance or remembering in his body someone else's dance - but if the dancer dances, everything is there.... our ecstasy in dance comes from the possible gift of freedom, the exhilarating moment that this exposing of the bare energy can give us. What is meant is not license, but freedom…”

Merce Cunningham (1919–2009) American dancer

1952 <br class="br">from the front-page of the website of the Merce Cunningham Trust http://www.mercecunningham.org/merce-cunningham/

“When you paint Spring, do not paint willows, plums, peaches, or apricots, but just paint Spring. To paint willows, plums, peaches, or apricots is to paint willows, plums, peaches, or apricots - it is not yet painting Spring.”

Dogen (1200–1253) Japanese Zen buddhist teacher

“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

“This bubbling and whirling of forms and lights, composed of sounds, noises, and smells has been partly achieved by me in my 'Anarchical funeral' [the painting Carra painted ca 1910-1911, ed. ].... by Umberto Boccioni in his 'States of Minds' and 'Forces of a Street' [both paintings Boccioni painted in 1911], by Russolo in 'Rebellion' (1911) and Severini in 'Pan-Pan [the first version, Severini painted in 1909-1911], paintings which were violently discussed at our first Paris exhibition in 1912.”

Carlo Carrà (1881–1966) Italian painter

Quote in La Pittura dei suoni, rumori, odori Carrà, 11 Aug 1913, as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 142
1910's

“What matters is not what you paint but what your hand dances. The painting is only a notation of the dance of the hand, of the gesture of love.”

John Diamond (doctor) (1934) Australian doctor

Source: Stillpoints: An Introductory Guide to Haiku Painting (2008), p. 20

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Francis Picabia11

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