“But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you’ve got him, he’s always moved along. That’s what I aspire to do.”

— Per Kirkeby

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

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Per Kirkeby 14

Danish artist 1938–2018

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“I do not know how to write or speak but only to paint and draw. Look at what I have done. Whether I have succeeded in explaining myself or not, in any case, if you do not understand my work, through your fault or mine, I can do no more.”

Albert Marquet (1875–1947) French artist

Marcelle Marquet, Marquet Fernand Hazan Editions, Paris 1955, p. 6; as quoted in 'Appendix – Marquet Speaks on his Art', in "Albert Marquet and the Fauve movement, 1898-1908", Norris Judd, published 1976, - translation Norris Judd - Thesis (A.B.)--Sweet Briar College, p. 116

“As regards my paintings of similar compositions I cannot give you any indication [about possible 'variants' in his works] because I'm afraid I've never made a note of where my paintings have ended up... I am always at work and work is my sole passion. And unfortunately I've become aware that I must always start from the beginning, and ought to burn what I've done in the past.”

Giorgio Morandi (1890–1964) Italian painter

Quote in his letter of 2 Aug. 1954; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 42
1945 - 1964

“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

“I hope when he dies, he does become a tree. I hope he's in the middle of the wilderness and he's doing his tree thing. Whatever it is trees do. I know they do a lot of work with breezes. And wouldn't it be fantastic if while he was out there just enjoying his treeness, through the woods, a huge sweaty guy with an ax comes long? Sees him… [tree-chopping motions]. Chops him down, smash! Put a chain around him, drag him through the mud and the muck, throw him into a sawmill and grind him up. [Nuzzsaw noise] Then you pound him down into paper, and once he's paper, you print the Bible on him.”

Dane Cook (1972) American actor and comedian

Vicious Circle (2006)

“Well, I know what I have to do, so it is simple. Duty is a wonderful thing. I do not know what I should have done without duty since young Tom died. You could have painted, he told himself. Or you could have done something useful. Maybe, he thought. Duty is simpler.
This is useful, he thought. Do not think against it. It helps to get it over with. That's all we are working for. Christ knows what there is beyond that.”

Ernest Hemingway book Islands in the Stream

Pt. 3: At Sea, Section 15
Islands in the Stream (1970)

“I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.”

Helen Frankenthaler (1928–2011) American artist

Quote from Abstract Expressionism, Barbara Hess, Taschen Köln, 2006, p. 15
1990s - 2000s

“Mondrian? His mind was too subtle. He worked in the light. I work in the darkness... Mondrian is the Buddha of painting. I saw him once. You wondered how a man could radiate such charisma.”

Bram van Velde (1895–1981) Dutch painter

2 April 1967; p. 62
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

“"I do not literally paint that table, but the emotion it produces upon me."
After a pause full of intense thought on my part, I asked: "But if one hasn't always emotion. What then?"
"Do not paint," he quickly answered. "When I came in here to work this morning I had no emotion, so I took a horseback ride. When I returned I felt like painting, and had all the emotion I wanted.”

Henri Matisse (1869–1954) French artist

Interview with Clara T. MacChesney (1912), in Matisse on Art (1995) edited by Jack D. Flam, p. 66
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“I always have the most sympathy for that painting of mine, which the other people appreciate the least. It gives me the impression of an outcast and it takes on a romantic-interesting quality. I therefore always put this work first and want to prove to everyone that he is wrong if he does not appreciate this above all my other works. It is certainly rather foolish, and I do not know, it comes from an 'esprit de contradiction' or just from pity. The bad end has something attractive, one has sympathy for it.”

Gerard Bilders (1838–1865) painter from the Netherlands

version in original Dutch / citaat van Bilders' brief, in het Nederlands: De meeste sympathie heb ik altijd voor dat schilderij van mij, wat de andere mensen het minst waardeert / bevalt. Dit geeft mij de indruk van een verstoteling en het neemt een romantisch-interessante hoedanigheid aan. Ik zet dit werk dan ook altijd voorop en wil iedereen bewijzen dat ie ongelijk heeft als hij deze niet boven al mijn andere werken waardeert. Dat is zeker nogal dwaas, en ik weet niet of het voortkomt uit 'esprit de contradiction' of uit medelijden. Het ongeluk heeft iets aantrekkelijks, men heeft er sympathie voor.
Source: 1860's, Vrolijk Versterven' (from Bilders' diary & letters), p. 40 - quote from Bilders' diary, 8 March 1860, written in Amsterdam

“My work has nothing to do with people, nothing to do with psychology. I am much more cerebral than Willink. I do not wish to be deep at all. I know that I don't hide anything at all in this work. When Carel Willink paints a naked lady in a street, I think: what is that lady doing there?... the house facades give me a lugubrious impression. So it is a lugubrious street. My work is not lugubrious. If you ask Willink: 'Why are those naked mistresses there', you do not receive an answer. With me you always get an answer when you ask: why..”

M. C. Escher (1898–1972) Dutch graphic artist

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): Mijn werk heeft niets met de mens, niets met psychologie te maken. Ik ben veel cerebraler dan Willink. Ik wens helemaal niet diep te zijn. Ik weet dat ik in dit werk niets verberg. Als Carel Willink een naakte juffrouw in een straat schildert, denk ik: wat heeft die juffrouw daar te maken?.. ..de gevels maken op mij de indruk van iets lugubers. Het is dus een lugubere straat. Mijn werk is niet luguber. Als je Willink vraagt: waarom zijn die naakte juffrouwen daar, krijg je geen antwoord. Bij mij krijg je altijd antwoord als je vraagt: waarom..
1960's, M.C. Escher, interviewed by Bibeb', 1968

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