“Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything... A convent, a monastery, a phalanstery of painting where one could train together.... but no program, no instruction in painting.... drawing is still alright, it doesn't count, but painting – the way to learn is to look at the masters, above all at nature, and to watch other people painting..”

—  Paul Cézanne

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 124, in: 'What I know or have seen of his life'

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Paul Cézanne62
French painter 1839–1906

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“I do both: I make preliminary drawings, other times I paint directly, other times I start a painting and then paint it out so that it becomes another painting or nothing at all. If a painting doesn't work, throw it out. When I work from preliminary sketches, I don't just enlarge these drawings, but plan my areas in a large painting by using small drawings for separate areas. I combine them in a final painting, often adding to or subtracting from the original sketches.... There are certain canvases here in my studio - the little one over there – that I've worked on for a good six months – painting most of it out and then painting it over and over again. I think I've got it now.”

Franz Kline (1910–1962) American painter

1958
1960's, Talks with Seventeen Artists, 1962

Constant Troyon photo

“.. learn to draw: that's where most of you [Troyon's pupils] are falling down today.... draw with all your might; you can never learn to much. However, don't neglect painting, go to the country from time to time and make studies and above all develop them.”

Constant Troyon (1810–1865) French painter

quoted by Monet, in his letter to Boudin, 1859; as quoted in Discovering Art, – The life time and work of the World's greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 11
Monet is quoting in his letter Troyon, who was a good friend of his first art-teacher Eugène Boudin in Le Havre

Frank Stella photo

“You are always related [as an artist] to something. I'm related to the more geometric, or simpler, painting, but the motivation doesn't have anything to do with that kind of European geometric painting. I think the obvious comparison with my work would be Vasarely, and I can't think of anything I like less.... the 'Groupe de recherché d'Art visuel' actually painted all the patterns before I did – all the basic designs that are in my painting – I didn't even know about it.... it still doesn't have anything to do with my painting. I find all that European geometric painting – sort of post Ma Bill school – a kind of curiosity, very dreary.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 117

Brook Taylor photo

“I would recommend it to the Masters of the Art Painting… to establish a better Method for the Education of their Scholars, and to begin their Instructions with the Technical Parts of Painting, before they let them loose to follow the Inventions of their own uncultivated Imaginations.”

Brook Taylor (1685–1731) English mathematician

New Principles of Linear Perspective (1715, 1749)

Frank Stella photo

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

Suze Robertson photo

“But please come into my studio; It is now full of works everywhere, you see... Oh, you don't need to be careful; those paintings do fall together frequently; - it doesn't really harm them.”

Suze Robertson (1855–1922) Dutch painter

(version in original Dutch / origineel citaat van Suze Robertson:) Maar komt u binnen op mijn atelier; 't staat er nu overal vol, naar u ziet.. .O, u hoeft niet zoo voorzichtig te weezen [M. J. Brusse komt naar haar atelier voor het interview]; die schilderijen vallen wel meer door elkaar; - 't hindert ze heusch niet..
M. J. Brusse visited Suze's studio in The Hague, for the interview
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 29

“People have success with this method and it gets them excited. It gets them hooked. You can put layers of thick paint on thin paint and that allows you to complete a painting in one sitting.”

Bob Ross (1942–1995) American painter, art instructor, and television host

Source: Mike Flannagan (October 1, 1992) "TV Artist Bob Ross Watches Paint Dry, Turns It Into a Successful Career", The Knoxville News-Sentinel, p. B1.

Edgar Degas photo

“The study of nature is of no significance, for painting is a conventional art, and it is infinitely more worthwhile to learn to draw after w:Holbein.”

Edgar Degas (1834–1917) French artist

Quote from History of Impressionism, Rev. ed. John Rewald, Museum of Modern Art, 1961, p. 89
posthumous quotes, Degas Dance Drawing' (1935)

“I rather feel that painting is a form of drawing and the painting that I like has a form of drawing to it. I don't see how it could be disassociated from the nature of drawing.... I find in many cases a drawing has been the subject of the painting – that would be a preliminary stage to that particular painting.... the painting can develop something that is not at all related to the drawing and have no particular mood about it at all; it's just a cool kind of reality that has a series of involvements within it; and the pure excitement of those things happening within this form is enough for that particular panting..”

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

Frank Stella photo

“I got tired of other's people painting and began to make my own paintings. I found, however, that I not only got tired of looking at my own paintings but that I also didn't like painting them at all. The painterly problems of what to put here and there and how to do it to make it go with what was already there, became more and more difficult and the solutions more and more unsatisfactory. Until finally it became obvious that there had to be a better way.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, The Pratt lecture (1960), p. 114

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