“The important thing is that Clyff Still – you know his work? – and Rothko, and I – we've changed the nature of painting… I don't mean there aren't any other good painters. Bill [ Willem the Kooning ] is a good painter, but he's a 'French' painter [Pollock meant: a French-abstract style]. I told him so, the last time I saw him after his last show,… all those pictures in his last show start with an image. You can see it even though he's covered it up, or tried to…. Style – that's the French part of it. He has to cover it up with style.. [answering Seldon Rodman's question]”

— Jackson Pollock

In an interview (1956); published in Conversations with Artists, by Seldon Rodman, New York, Capricorn Books, 1961, pp. 84-85
1950's

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Jackson Pollock33

American artist 1912–1956

Lee Krasner (1908–1984) American artist

So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

“He (Delacroix) turns David [French painter] upside down. His painting is iridescent. Seeing one Constable [famous English landscape painter, admired by French painters, then] is enough to make him understand all the possibilities of landscape, and he too sets up his easel by the sea... And he has a sense of human being, of life in movement, of warmth. Everything moves, every glistens. The light!... There is more warm light in this interior [probably: Delacroix's 'Woman of Algiers'] of his than in all of Corot's landscapes..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 196 in: 'What he told me – II. The Louvre'

“I admired [c. 1952-54] his [ Motherwell's] painting. But the rest of the painters I was involved with --. I mean I didn't know [Clyfford] Still either and therefore Still didn't come up in my life as much. But I liked to look at Still. And I went of course to all of his [Robert Motherwell's] shows. But Bill de Kooning and Jackson [Pollock] were all around all the time. And it wasn't just following a career and a gallery and a social scene then, and a party scene, and the peripheral part of it at all. And I knew Bob [Motherwell] not personally at all”

Helen Frankenthaler (1928–2011) American artist

till 1957-58
quote about several contemporary artists
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“You may know a good painter by his habit of work: a good painter works constantly.”

Patrick Swift (1927–1983) British artist

The Artist Speaks (1951)

“[Concerning all painters] working in what is known as the abstract style: [the abstract form] is a living thing…. a carrier of the awesome feelings he felt before the unknowable [common quote of Barnett Newman, Clifford Still, and Mark Rothko, 1947]”

Barnett Newman (1905–1970) American artist

1940 - 1950
Source: the catalogue of the 'Ideographic Picture' show, New York, 1947

“Willem de Kooning, they say, lost his memory. He lost his worldly memory. He lost the names of the people, he lost their faces... This is one of the reasons he paints as a real painter.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

“I've always been told that I was a painter's painter... What does that mean?... That painters like my painting and the big wide world overlooks it, I suppose?... Well, I know... To me, it would have meant that - this is pre this new rage in buying and selling paintings - that, I think, that the formal values, like light, space, color, all those things that a painting is made up of, as well as the Jacob going up the ladder or Venus on the half shell or something [chuckles] would be what interested the painter. And perhaps the public would want the picture of the Christ child, so to speak. You know what I mean.”

Joan Mitchell (1925–1992) American painter

Tape number two, side A
1975 - 1992, Oral history interview with Joan Mitchell, 1986

“We are getting mixed up with the French tradition. In talking about the necessity to 'finish' a thing, we then said American painters 'finish' a thing that looks 'unfinished', and the French, they 'finish' it. I have seen Henri Matisse's that were more 'unfinished' and yet more 'finished' than any American painters. Matisse was obviously in a terrific emotion at the time and he was more 'unfinished' than 'finished.”

William Baziotes (1912–1963) American painter

Source: 1950s, Artists' Session at Studio 35, (1950), p. 216

“Then - being in two minds - in my father's courtyard, I counted the buttons of my coat: soldier or painter, soldier, painter, soldier, painter.... the last button told me: painter. So it was decided by chance that I would become a painter”

Johannes Warnardus Bilders (1811–1890) painter from the Northern Netherlands

c. 1831
version in original Dutch (citaat van Johannes Warnardus Bilders, in Nederlands): Toen telde ik, op de binnenplaats mijns vaders in tweestrijd, de knoopen van mijn jas: soldaat of schilder, soldaat, schilder, soldaat, schilder.. ..de laatste knoop zei schilder, en zoo besliste het toeval, dat ik schilder zou worden [c. 1831].
J.W. Bilders was fighting as a Dutch volunteer in the Belgium Independents War against The Netherlands. 1830
Source: 1880's, Johannes Warnardus Bilders' (1887/1900), p. 78

“In French there is an old expression, 'la patte', meaning the artist's touch, his personal style, his 'paw'. I wanted to get away from la patte and all that retinal painting.”

Marcel Duchamp (1887–1968) French painter and sculptor

posthumous

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