“I make what it pleases me to make.... I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason. I intuitively paint flags.”

Quoted in: Paul Jones (2011), The Sociology of Architecture: Constructing Identities. p. 47.
Other explanation by Picasso of the Guernica.
Quotes, 1930's

1942 - 1948, A Painter in a Glass House' (1948)

It's phony reverence. It's ridiculous.
after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

1950's, On Being a Graphic Artist', 1953
Context: It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint 'for themselves': but I think they would soon have painted their fill if they lived on a desert island. The primary purpose of all art forms, whether it's music, literature, or the visual arts, is to say something to the outside world; in other words, to make a personal thought, a striking idea, an inner emotion perceptible to other people’s senses in such a way that there is no uncertainty about the maker's intentions.

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

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

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Maandenlang heb ik aan dit schilderij [titel: 'De steenkruiwagen van C. Adema', 1977] gewerkt en die putemmer bijvoorbeeld op de kruiwagen, heb ik wel twintig keer geschilderd en is precies zo opgebouwd als de natuur hem gevormd heeft. Ik wil het mezelf steeds moeilijker maken. Zo kan het wel – bestaat niet voor mij. Verdieping, daar gaat het om. Ik wil nog eens een keer een schilderijtje zo maken, dat ik haast niet meer kan zien dat het geschilderd is, dat het er gewoon is, zo, zonder meer. Iets heel eenvoudigs.
Source: Jopie Huisman', 1981, p. 80

Actually both positions are implicit in the paintings, so you don't have to choose.
The Insiders, Rejection en Rediscovery of Man in the Arts of our Time, Selden Rodman, Baton Rouge, Louisiana State University Press, 1960, Chapter 6.
1960s

1930s