
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 162, in: 'What he told me – I. The motif'
Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 116
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 162, in: 'What he told me – I. The motif'
1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 221 in: 'What he told me – III. The Studio'
In many works by the greatest colourists — Rembrandt and Watteau are examples — there are very few identifiable colours.
Source: The Romantic Rebellion (1973), Ch. 10: Turner II: The Liberation of Colour
Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 179
Carlo Carrà's art statement on Futurism in 1913, as quoted in Abstract Art Anna Moszynska, Thames and Hudson 1990, p. 26
1910's
Source: 1932 - 1946, The Studio 132:643', (1946), p. 280
Quote from a letter to Simone Herman, 3 September, 1933, as in quoted Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 28
Quotes of Fernand Leger, 1930's
Madonna Interview : Island Magazine (October 1983), Island, 1983-10-01 http://allaboutmadonna.com/madonna-library/madonna-interview-island-magazine-october-1983,
(When asked what she used to draw as a kid).