“There are great many Rembrandts here [in Paris]. Even if they are yellow with varnish, I can still learn so much from them, the wrinkled intricacy of things, life itself. There is a little thing here by him.... It is of a women in bed, nude. But the way it's painted, the way the cushions are painted, their shapes, with all those details of lacework, the whole thing is bewitching.”

— Paula Modersohn-Becker

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 18 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 297
1900 - 1905

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Paula Modersohn-Becker 55

German artist 1876–1907

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“I must learn how to express the gentle vibration of things, their roughened textures, their intricacies. I have to find an expression for that in my drawing, too, in the way I sketched my nudes here in Paris, only more original, more subtly observed. The strange quality of expectation that hovers over muted things [skin, Otto's Otto Modersohn forehead, fabrics, flowers]; I must try to get hold of the great and simple beauty of all that. In general, I must strive for the utmost simplicity united with the most intimate power of observation. That's where greatness lies.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 197-198
1898

“A great many things are dying very violently all the time. The best days for violent deaths are Tuesdays. They are the yellow-paint days. Saturdays are second best -- or worst. Saturdays are red-paint days. The Great Death Game is therefore a contest between red-paint days and yellow-paint days. So far yellow-paint days are winning by thirty-one corpses to twenty-nine. Whatever the colour, a violent death is always celebrated by a firework.”

Peter Greenaway (1942) British film director

Drowning By Numbers

“Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..”

Paula Modersohn-Becker (1876–1907) German artist

in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79
1897

“The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint. … I found I could say things with color and shapes that I couldn't say any other way — things I had no words for.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)
Context: It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colours put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint. … I found I could say things with color and shapes that I couldn't say any other way — things I had no words for.<!-- Also quoted in Georgia O’Keeffe: Nature and Abstraction (2007), edited by Richard Marshall, p. 13

“Paintings are memories. Memories of the painter who painted them. Memories that can be shared as well. Paintings are things to remember things by.”

James Rosenquist (1933–2017) American artist

Quoted in Brian Sherwin, "Art Space Talk: James Rosenquist," http://www.myartspace.com/blog/2008/04/art-space-talk-james-rosenquist.html myartspace.com (2008-04-04)

“Or indeed we may say again, it is in what I called Portrait-painting, delineating of men and things, especially of men, that Shakspeare is great. All the greatness of the man comes out decisively here. It is unexampled, I think, that calm creative perspicacity of Shakspeare. The thing he looks at reveals not this or that face of it, but its inmost heart and generic secret: it dissolves itself as in light before him, so that he discerns the perfect structure of it. Creative, we said: poetic creation, what is this too but seeing the thing sufficiently? The word that will describe the thing, follows of itself from such clear intense sight of the thing. And is not Shakspeare's morality, his valour, candour, tolerance, truthfulness; his whole victorious strength and greatness, which can triumph over such obstructions, visible there too? Great as the world!”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

“I believe that there are varying points of contact. You have to be able to see the whole thing first. All great paintings are sculptures – there's so much of the factualness about it that a great painting forces you into a visual, physical movement of yourself. That's what determines the way you experience a painting kinetically. You move closer, you sight down it, you till your head, you step back, you feel as though you are in it. That being in it is just as important as looking from a distance.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 10
Conversation with Karen Wilkin' (1986-1988)

“The one whom I honor most of all is Rembrandt. Rubens and Velasquez painted better than Rembrandt, but he was the greatest of all painters because he was most powerful humanly. His grasp of all things was from within out. He had something that surpassed all other painters-a great humanity. He is perhaps the only one who could have painted the Christ.”

Fritz von Uhde (1848–1911) German artist

As quoted by Gustav Stickley (1911). The Craftsman http://digicoll.library.wisc.edu/cgi-bin/DLDecArts/DLDecArts-idx?type=article&did=DLDecArts.hdv20n06.i0027&id=DLDecArts.hdv20n06&isize=text, Volume 20. United Crafts, p. 631

“I know you want it to stay pleasant around here, but — there are so many things … that are so much better. Like silly, or sexy, or dangerous … or brief. And every one of those things is in you all the time, if you just have the guts to look for them.”

Gary Ross (1956) American film director

David Wagner/Bud Parker
Pleasantville (1998)

“For me, a painting must be a pleasant thing, joyous and pretty - yes, pretty. There are too many unpleasant things in life for us to fabricate still more.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

As quoted in: Faber Birren (1965) History of color in painting: with new principles of color expression. p. 284-5
Alternative translation:
To my mind, a picture should be something pleasant, cheerful, and pretty, yes pretty! There are too many unpleasant things in life as it is without creating still more of them.
As quoted in Luncheon of the Boating Party‎ (2007) by Susan Vreeland
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