“Despite my fervour for many Surrealist painters, I was soon wary of the preeminence of those 'literary anecdotes' that made many works appear as 'genre clichés', not unlike nineteenth-century pastiches. They often ignored the visual possibilities of the painting medium.”

— Antoni Tàpies

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
1971 - 1980, Memòria Personal', 1977

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Antoni Tàpies39

Catalan painter, sculptor and art theorist 1923–2012

Henri Peyre (1901–1988) American linguist

As quoted in Cohn Existentialism (1948), p. 36

“A painter should never speak because words are not the means at his command. Words cannot express visually dimension at a glance they can only establish their own relationship in time.
However, it is possible for a painter, at certain moments of his development to formulate some of the problems he is facing in the growth of his work. A painting cannot be explained. Words can only stimulate the act of looking.
A visual problem is never put a priori as a mathematical problem but is born in the process of painting and evolves in a state of unawareness of the painter.”

Fritz Glarner (1899–1972) Swiss artist

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

“It must be admitted that among a certain number of advanced mathematical physicists whose work has lain mainly in the twentieth century, the ether is regarded with suspicion, or even with contempt. And some of the opponents go so far as to as to say that the nineteenth century idea of the ether has failed to establish itself, and that in consequence the whole idea of the ether is under a cloud, and that it is only upheld by a few antiquated supporters, who, though are willing to admit many modifications in the original nineteenth century notions of an ether, feel the need of a medium capable of performing the functions attributed to it.”

Oliver Lodge (1851–1940) British physicist

My Philosophy: Representing My Views on the Many Functions of the Ether of Space, p. 109 https://books.google.com/books?id=pC28TnExGEEC&pg=PA109 <br class="br">My Philosophy (1933)

“They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my own reality.”

Frida Kahlo (1907–1954) Mexican painter

Quoted in Time Magazine, "Mexican Autobiography" (27 April 1953)
1946 - 1953
Variant: I don't paint dreams or nightmares, I paint my own reality.

“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn (1914–1973) Danish artist

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, <br class="br">1940 - 1948, Various sources

“I believe art is a wholly formal enterprise, encompassing almost all the tenets that the nineteenth century spoke of as l’art pour l’art, tenets which have made twentieth century’s experimentation possible.”

Samuel R. Delany book Flight from Nevèrÿon

What postmodern doesn’t?
Section 9.811 (p. 273)
Flight from Nevèrÿon (1985)

“The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism... In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in 'Appreciations of other artists': Max Ernst (painter, sculptor author) 1945, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

“Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.”

Stephen Spender (1909–1995) English poet and man of letters

"Tradition-Bound Literature and Traditionless Painting"
The Struggle of the Modern (1963)

“The appearance in nineteenth-century psychiatry, jurisprudence, and literature of a whole series of discourses on the species and subspecies of homosexuality, inversion, pederasty, and "psychic hermaphroditism" made possible a strong advance of social controls into this area of "perversity"; but it also made possible the formation of a "reverse" discourse: homosexuality began to speak in its own behalf, to demand that its legitimacy or "naturality" be acknowledged, often in the same vocabulary, using the same categories by which it was medically disqualified.”

Michel Foucault (1926–1984) French philosopher

Vol. I, p. 101
History of Sexuality (1976–1984)

“No real painter ever wants be known through any other medium than his painting.”

Patrick Swift (1927–1983) British artist

The Artist Speaks (1951)

“Despite my fervour for many Surrealist painters, I was soon wary of the preeminence of those 'literary anecdotes' that made many works appear as 'genre clichés', not unlike nineteenth-century pastiches. They often ignored the visual possibilities of the painting medium.”

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