“As an Indian, I remained convinced that the bhav or the feeling of a painting is important, and these put together, can make a good artistic expression. This is what I tried to do during my years in France.”

— S. H. Raza

This is a sum of all my experiences: SH Raza

Adopted from Wikiquote. Last update Sept. 14, 2021. History

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S. H. Raza 20

Indian artist 1922–2016

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“What I lack are the skills of painting, the profession which I don't know, and now I see that the French [artists] possess this so extremely strong. I do believe that you can learn it all here. I am in Paris now. When someone is richer than me and he wants me to stay here for a year or half a year (for a few thousand francs) my future will have a lot of more certainty than when I must go back to Holland after eight days... I hope you will be able to fulfill my wish; I also put enough trust in you that you will do this, if you can. Waiting for your letter with a lot of anxiety, I remain”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

G.H. Breitner (translation from the original Dutch, Fons Heijnsbroek)
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Wat mij mankeert is de manier van schilderen, 't métier dat ik niet ken, en wat ik nu zie dat de Franschen zoo buitengewoon sterk bezitten. en wat ik wel geloof dat men hier leeren kan. Ik ben nu in Parijs. Wanneer iemand rijker is dan ik mij hier een jaar of een half jaar (voor een paar duizend francs) wil laten blijven, is mijn toekomst vrij wat zekerder, dan dat ik na acht daag weer naar Holland moet terugkeeren.. .Ik hoop dat U in staat zult zijn mijn wensch te verwezentlijken; ik stel ook genoeg vertrouwen in U dat ge dat doen zult als ge kunt. Met de meeste angst Uw brief te wachten, blijf ik' - tt G.H. Breitner.
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“See, I never understand why my paintings hold together because I don't have any tricks for doing it and that is usually what makes a painting academic. There were some well-known devices for making a painting work hold together, ave cohesion. This seemed to be organized. But I don't necessarily have to know what the mechanism is. For me, what it really is, is something you have in yourself that makes you feel, it gives the painting a feeling of unity, of oneness, and being of all of one piece.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

“I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end... Thus the fact that good European moderns [European artists who lived in the U. S. because of the Nazi-regime] are now here is very important, for they bring with them an understanding of the problems of modern painting. I am particularly impressed with their concept of the source of art being the unconscious. These idea interests me more than these specific artists do, for the two artists I admire most, Picasso and Joan Miró, are still abroad.”

Jackson Pollock (1912–1956) American artist

As quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York, 1990, p. 138
1940's, Art and Architecture (1944)

“Contact with other artists has always been of great importance to me. When the artists I know best used to meet.... the talk was mostly of ideas in painting. There was an unconscious collaboration between artists. Whether you agreed or disagreed was of no consequence. It was exciting and you were compelled to paint over your head…. If your painting was criticized adversely, you either imitated someone to give it importance, or you simply suffered and painted harder to make your feelings on canvas convincing... What does happen when artists meet is that we are able to see more clearly the unfolding of character as time goes on.”

William Baziotes (1912–1963) American painter

Quote from Baziotes' text for the symposium 'The Creative process', Art Digest Vol. 28, no 8, 15; January 1954, p. 33
Baziotes is referring here to the many art-debates and exchanges between the New York Abstract Expressionist artists
1950s

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

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“I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

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“What I always longed to do was to be able to paint like I can draw, most artists would tell you that, they would all like to paint like they can draw.”

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“The freedom is far more important than the money. The endgame is to be an extremely famous artist in lots of museums all around the world so lots of people can see my work for free. I know what I'm making, I know it's good. I will reserve the right to paint the [bombed] bus or anything that is shocking in life. If someone wants to come and shoot me because they find that offensive, they can. As an artist, if you can't take that freedom, you're a wanker.”

Stella Vine (1969) English artist

Smith, David. "Art? It's like the sex trade" http://www.guardian.co.uk/artanddesign/2006/apr/23/art3, The Observer, (2006-04-23)
On artistic freedom.

“But with photography as with drawing or painting, once it is done I want to know whether it holds together or not. That is the real critique. I couldn’t care less if the person to whom I show what I do likes it or not — it takes all sorts to make a world and all that. To criticize is to put oneself in someone else’s shoes and try to figure out what they wanted to do. Only the “why” of things is important to me.”

Henri Cartier-Bresson (1908–2004) French photographer

Source: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, We Always Talk Too Much: Conversation with Pierre Assouline (1994), p. 132

“As an Indian, I remained convinced that the bhav or the feeling of a painting is important, and these put together, can make a good artistic expression. This is what I tried to do during my years in France.”

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S. H. Raza 20

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