“Sylvester: When was it that you first did a painting with one or two simple lines, horizontal or vertical, across the surface?
Newman: I would say that it began in '46— '47. In those years, whenever I did a painting with one or two elements in it, it did always have a sense of an atmospheric background, I suppose — with the exception of a painting which I called Euclidian Abyss, where the background is black and has some of the white coming through, but there's no true atmosphere.”

— Barnett Newman

Source: 1960 - 1970, Interview with David Sylvester 2. Spring 1965, p. 255

Adopted from Wikiquote. Last update June 3, 2021. History

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Barnett Newman 25

American artist 1905–1970

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

“I love painting the way one loves the body of a women.... if painting must have an intellectual and social background, it is only to enhance and make more rich an essentially warm, simple, radiant act, for which everyone has a need.”

Robert Motherwell (1915–1991) American artist

Conversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983
after 1970

“As far as transience is concerned... You see the whole story in those shoes, that's why I paint them so accurate. The physical attitude; crooked legs, a lump. Those shoes were talking to me, and then I thought: I can see that you were so and so big, but did you also had a wife? Children? What were you doing? And what really mattered to me is my own place between them. Between those stories, that mystery. That pitch-black background [in Jopie's paintings, till c.1979-80] - I had found it. A cry for attention. Those pants, that shirt, that background, that was: here I am. But then it become mannerism. So I carried on realistically but avoiding the black background at all costs. It is as Rutger Kopland says: Whoever found it did not look well. Now I want to paint people like this, like they are made of colored mud. Color spiritualizes.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Wat de vergankelijkheid betreft.. .Je ziet het hele verhaal in die schoenen, daarom schilder ik ze zo scherp. De lichamelijke houding; kromme poten, een knobbel. Die schoenen praatten tegen me, en dan dacht ik: ik kan zien dat je zo en zo groot was, maar had je ook een vrouw? Kinderen? Wat deed je? En waar het me in wezen dan om ging is mijn plekkie daartussen. Tussen die verhalen, dat mysterie. Die pikzwarte achtergrond [in zijn schilderijen, tot c. 1979-80]; ik had het gevonden. Een schreeuw om aandacht. Die broek, dat hemd, die achtergrond, dat was: hier ben ik. Maar dan word je een maniërist. Dus ik ben realistisch doorgegaan, maar koste wat het kost die zwarte achtergrond vermijdend. Het is zoals nl:Rutger Kopland zegt: Wie het gevonden heeft, heeft niet goed gezocht. Nu wil ik de mensen zo schilderen, als zijn ze van gekleurde modder. De kleur die vergeestelijkt.
Mens & Gevoelens: Jopie Huisman', 1993

“We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.... and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 75

“When I first painted a number of canvases grey all over (about eight years ago), I did so because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed differences of quality among the grey surfaces – and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalizing a personal dilemma, they resolved it.”

Gerhard Richter (1932) German visual artist, born 1932

Quote of Richter on his 'Grey Paintings', in a letter to nl:Edy de Wilde, 23 February 1975; as cited on collected quotes on the website of Gerhard Richter: on 'Grey-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/grey-paintings-9
1970's

“When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is — except a naked man, but I never saw a study of one exhibited.”

Thomas Eakins (1844–1916) American painter

Letter to his father, Benjamin Eakins (1867), quoted in Lloyd Goodrich, Thomas Eakins: His Life and Work (1933).

“So, of course, the visions are painted in the colours of the rainbow, and the reality is sketched in duller tones of black and white and grey. But I ask you to accept one thing. Hand on heart, I did what I thought was right. I may have been wrong. That is your call. But believe one thing, if nothing else. I did what I thought was right for our country.”

Tony Blair (1953) former Prime Minister of the United Kingdom

" Full text of Tony Blair's resignation speech http://www.timesonline.co.uk/tol/news/politics/the_blair_years/article1772414.ece", Times Online, 10 May 2007.
Announcing his impending resignation, Trimdon Labour Club, 10 May 2007.
2000s

“People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black and the white is just as important.”

Franz Kline (1910–1962) American painter

1950's, Conversations With Artists, 1957

“With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not.”

Robert Rauschenberg (1925–2008) American artist

Source: 1960's, The Bride and the Bachelors, (1962), pp. 203-204

“The oldest girl [his daughter Maro, four and a half years old] did this. She paints like a little bird. And this, the young one [Natasha, two and a half] did. See, she paints on both sides of the canvas. She is more like a passionate plumber. I wish I could paint as freely as they do. There is a gravity of playfulness in their work. If they could only keep it – but they will lose it as they grow older.”

Arshile Gorky (1904–1948) Armenian-American painter

1942 - 1948, A Painter in a Glass House' (1948)

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