“I considered that the painter's personality should be kept out of things, and therefore pictures should be anonymous. It was I who decided that pictures should not be signed, and for a time Picasso did the same. I thought that from the moment someone else could do the same as myself, there was no difference between the pictures and they should not be signed. Afterwards I realized it was not so and began to sign my pictures again. Picasso had begun again anyhow. I realized that one cannot reveal oneself without mannerism, without some evident trace of one's personality. But all the same one should not go too far in that direction..”

Source: 1946 - 1963, In conversation with Dora Vallier' (1954), p. 265

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Georges Braque43

French painter and sculptor 1882–1963

Hans Hofmann (1880–1966) American artist

Quote from an interview with w:Elaine de Kooning, 'Hans Hofmann paints a picture', 1950; in Artnews, February 1950, 38 (article 38-41 and 58-59)
1950s

“The world doesn't make sense, so why should I paint pictures that do?”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

“It is always my endeavour however in making a picture that it should be without a companion in the world. At least such should be a painters ambition.”

John Constable (1776–1837) English Romantic painter

Letter to a client, Mr Carpenter (23 July 1828), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 291
1820s

“My first photo Picture? I was doing large pictures in gloss enamel... One day a photograph of Brigit Bardot fell into my hands, and I painted it into one of these pictures in shades of grey. I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic.... thing that everyone could do.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 43, note 36 : quote on his start with photography

“When we were so friendly with Picasso, there was a time when we had difficulty in recognizing our own pictures. Later, when the revelation went deeper, differences appeared. Revelation is the one thing that cannot be taken from you. But before the revelation took place, there was still a marked intention of carrying painting in a direction that could re-establish the bond between Picasso and ourselves.”

Georges Braque (1882–1963) French painter and sculptor

Braque is referring in this quote to the early common start of Cubism ca. 1907 -1910, in Paris with Picasso
Source: 1946 - 1963, In conversation with Dora Vallier' (1954), p. 265

“Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

“I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Boisgeloup, winter 1934
Richard Friendenthal (1963, p. 256).
Quotes, 1930's, "Conversations avec Picasso," 1934–35

“What I really want to do, it seems, is to paint a single form in the middle of a canvas... That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.... I became signs. Exactly.... It seemed to become signs and symbols and I don't like signs.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 95

“I have not drawn a very rosy picture of the magician. I did not intend to do so. To the novice entering the life and promising himself ease, indolence, and wealth, I should say, "Don't!"”

Alexander Herrmann (1844–1896) French magician

The Art of Magic (1891)

“Why should not I call my works 'symphonies', 'arrangements', 'harmonies', and 'nocturnes'?... The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell. My picture of 'Harmony in Grey and Gold' is an illustration of my meaning – as snow scene with a single black figure and lighted tavern. I care nothing for the past, present, or future of the black figure, placed there because the black was wanted at that spot. All that I know is that my combination of grey and gold is the basis of the picture, Now this is precisely what my friends cannot grasp.”

James McNeill Whistler (1834–1903) American-born, British-based artist

Quote in a letter to 'The World', London 22 Mai, 1878; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

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