“(Piet Mondrian's) comment was: 'You have a very strong inner rhythm. You must never lose it'. Then we moved on. Piet Mondrian had said something quiet beautiful to me. Hofmann was also excited and enthusiastic about what I was doing at this time [c. 1938] but his comment was: 'This is so good that you would not know it was done by a woman'. His was a double-edged compliment. But Mondrian’s evaluation rides through beautifully.”

Source: Art Talk, Conversations with 15 woman artists 1975, p. 73.

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

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Lee Krasner19

American artist 1908–1984

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“I am searching for the proper harmony of rhythm and unchanging proportion, as I wrote in the article. And I cannot tell you how difficult it is. [Mondrian is reacting on Van Doesburg criticism of the strong domination of the regular grid in Mondrian's latest paintings]”

Piet Mondrian (1872–1944) Peintre Néerlandais

In Mondrian's letter to Theo van Doesburg, Paris, 16 September 1919; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 171
1910's

“My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930.
I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature.
I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

Alexander Calder (1898–1976) American artist

Quote (1951), in 'What Abstract Art Means to Me' http://www.jstor.org/stable/4058250, George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis; as cited in the The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15 <br class="br">1950s - 1960s

“Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas.”

Dore Ashton (1928–2017) art critic

Dore Ashton, "Fritz Glarner," Art International, vol. 7, no. 1, January 1963, p.51; Republished in: National Gallery of Australia, ‎Michael Lloyd, ‎Michael Desmond (1992). European and American Paintings and Sculpturee 1870-1970 in the Australian National Gallery, p. 246

“David Tudor and I went to Hilversum in Holland to make a recording for the Dutch radio. We arrived at the studio early and there was some delay. To pass the time, we chatted with the engineer who was to work with us. He asked me what kind of music he was about to record. Since he was a Dutchman I said, 'It may remind you of the work of Mondrian.' When the session was finished and the three of us were leaving the studio, I asked the engineer what he thought of the music we had played. He said, 'It reminded me of the work of Mondrian.”

John Cage (1912–1992) American avant-garde composer

Quote from 'Lecture on Nothing', (c. 1949), in 'Silence: lectures and writings by John Cage; Publisher Middletown, Conn. Wesleyan University Press, June 1961, p. 127
this lecture had been prepared some years earlier, but was not printed until 1959, when it appeared in 'It Is', ed. Philip Pavia
1950s

“For me it was also very special. It was so beautiful with all the children singing. I thought I would be nervous, but I was surprisingly calm. Think it will be like when you know what you want in life, then it is quiet.”

Princess Madeleine, Duchess of Hälsingland and Gästrikland (1982) Swedish princess

royalcorrespondent.com interview http://royalcorrespondent.com/2013/07/15/we-really-are-a-team-says-princess-madeleine-in-a-new-interview/

“My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.”

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

Quote in a letter of Karel Appel from Paris to Aldo van Eyck, October 1950; as quoted in (MR1-85); Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 99

“If you want something you have never had, you must be willing to do something you have never done.”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Not found in Jefferson's writings, according to the Jefferson Monticello center https://www.monticello.org/site/research-and-collections/if-you-want-something-you-have-never-had-quotation. First known appearance in print is from 2004. <br class="br">Misattributed

“I listened to a panel of judges and I'll comment on that — I will not comment on the statements made by, um, certainly one judge — but I have to be honest that if these judges wanted to, in my opinion, help the court, in terms of respect for the court, they'd do what they should be doing. I mean it's so sad, they should be, you know, when you read something so simple, and so beautifully written, and so perfectly written — other than the one statement, of course, having to do with "he" or "she" — but when you read something so perfectly written, and so clear to anybody, and then you have lawyers and you watched, I watched last night in amazement, and I heard things that I couldn't believe, things that really had nothing to do with what I just read, and I don't ever want to call a court biased, so I won't call it biased, and we haven't had a decision yet, but courts seem to be so political, and it would be so great for our justice system if they would be able to read a statement and do what's right.”

Donald J. Trump (1946) 45th President of the United States of America

2010s, 2017, February

“'Live for Loving You' is a kind of song that really can live in many different genres. And, of course, when you do your live performances the first time that you perform a song you want to stay true to the record: because tha's what people want to hear, they want to hear the hit. But then after you have done it fifty thousand times and through many, many different tours, you start experimenting and doing stuff to surprise people. So, the cut that we are doing here for the "iTunes Orginal" is something that we love to do -- because we just took it and really broke it down to a Samba. You know, the Brazilians have an amazing edge -- percussively, I think -- they have amazing rhythms. And this song really fit that rhythm very nicely. So, we wanted to do it acoustically and really cool -- and like we've done many times on tour. Just break it down to just acoustic, no synths and things of that nature: just make it organic. And I love that song for that reason: because you could perform it with just a couple of bongos and some vocals if you had to. And it would still work.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

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2007, 2008

“About the government, I think it is for the people -- and, of course, journalists, commentators and intellectuals -- to comment, which they have done copiously. All I would say is, I am grateful.”

P. V. Narasimha Rao (1921–2004) Indian politician

While nobody was opening their mouths in other parties, mouths were wide open in the Congress

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Lee Krasner19

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