“When I am in my painting, I am not aware of what I'm doing. It is only after a short of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.”

— Jackson Pollock

In 'Possibilities', Vol. 1, no 1, winter 1947-48, p. 79; as quoted in Jackson Pollock (1983) by Elizabeth Frank, p. 68
1940's

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American artist 1912–1956

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“I feel now if I think of it, it will come out in the painting. In other words, if I want to make the whole painting look like a bottle, like a lot of bottles - for instance maybe the end of the day, when everything is very light, but not in sunlight necessarily - and so if I have this image of this bottle and if I really think about it, it will come out in the painting. That doesn’t mean that people notice a bottle, but I know when I succeed in it – then the painting would have this.”

Willem de Kooning (1904–1997) Dutch painter

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 49.
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“In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing... The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn’t have been using Duco [industrial paint, like Willem de Kooning did]. My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp [turpetine] – the way I use paint today... The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 77.

“Painting is not what my life is about, but it is very important to me, and I am very lucky to be able to give some time to it. The time that I devote to painting is not a lot of time, but I do it 100 percent while I am working, and then there's nothing else that counts.”

Margrethe II of Denmark (1940) Queen of Denmark

Interview with Reuters, quoted on ITN. http://www.itnsource.com/shotlist/RTV/2012/01/26/RTV249512/ (26 January 2012). <br class="br">As an Artist

“I maintain that the frustration is an important, almost crucial, ingredient. I think that the best painting involves frustration. The point about the late Rembrandt [paintings] is not that it's satisfying but on the contrary that it is disturbing and frustrating. Because really, what he [Rembrandt] has done is to eliminate any plane - anything between that image and you. The Van Dyck [portrait] hasn't. It says [only] I'm a painting. The Rembrandt says: I am not a painting, I am a real man. But he is not a real man either. What is it then, that you are looking at?”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), p. 97

“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.”

Jasper Johns (1930) American artist

Quote of Jasper Johns, as cited in Trend to the Anti-Art: Targets and Flags, Newsweek 51 no. 13, March 1958, p. 96
1950s

“I don't like that word 'finish'. When something is finished, that means it's dead, doesn't it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.”

Arshile Gorky (1904–1948) Armenian-American painter

quote of 1948
1942 - 1948
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p 32

“I paint my own reality. The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.”

Frida Kahlo (1907–1954) Mexican painter

“In the coming year I must do a large painting which will definitely get me recognized for what I truly am, for I want all or nothing. All those little paintings are not the only thing that I can do... I want to do large-scale painting. One thing is certain, that within five years, I must have a name in Paris; that is what I strive for. It's hard to get there, I know... To move faster I only lack one thing, and that's money, in order to boldly execute what I have in mind.”

Gustave Courbet (1819–1877) French painter

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very soon after this letter Courbet attacked a canvas of eight feet high and ten feet wide
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“If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying – for however long it takes – until I think it has improved. And I don't demand an explanation from myself as to why this is so.”

Gerhard Richter (1932) German visual artist, born 1932

Quote in an interview with Astrid Kaspar, 2000; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5 <br class="br">after 2000

“My paintings are always images of my whole psychic makeup. You cannot deny yourself. You ask, am I painting myself? I'd been a swindler if I did otherwise. I'd be denying my existence as an artist. I've been also asked, what do you want to convey? And I say, nothing but my own nature... I am nothing but an optimist.”

Hans Hofmann (1880–1966) American artist

1960s
Source: Hofmann, in Ashton, (1960's) Twetieth Century Artists on Art, 218

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