“Tell [Père] Tanguy to send me some paints. What I need most are ten tubes of white, two of chrome yellow, one bright red, one brown lac, one ultramarine, five Veronese green, one cobalt j I have on hand only one tube of white … I expect to begin to paint again from nature, and I need the colors.”

— Camille Pissarro

Quote of Camille Pissarro, in a letter, Eragny, 25 February 1887, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 100
1880's

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Camille Pissarro 51

French painter 1830–1903

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“If upon a white canvas I jot down some sensations of blue, of green, of red – every new brush stroke diminishes the importance of the preceding ones. Suppose I set out to paint an interior... If I paint a green near the red, if I paint in a yellow floor, there must still be between this green, this yellow, and the white of the canvas a relation that will be satisfactory to me. But these several tones mutually weaken one another. It is necessary, therefore, that the various elements that I use be so balanced that they do not destroy one another..”

Henri Matisse (1869–1954) French artist

Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 411

“P. S. If you happen to see Seurat or if you write to Signac, tell them that I have tried the mixture of cadmium (well recommended by Contet), with red, white and Veronese green. It becomes black in four or five days from the Veronese green. Even blacker than the chrome yellow mixture. Tell this to Contet.”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, in a letter, Paris, 31 May, 1887, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 114
1880's

“I see less and less... I need to avoid lateral light, which darkens my colors. Nevertheless, I always paint at the times of day most propitious for me, as long as my paint tubes and brushes are not mixed up.... I will paint almost blind, as Beethoven composed completely deaf.”

Claude Monet (1840–1926) French impressionist painter

Quote, Jan. 1921, to journalist Marcel Pays. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

“I believe that one should not think so much about nature when painting, at least not during the conception of the picture. Make the color sketch exactly as one has felt something in nature. But my personal feeling is the main thing. Once I have established it, lucid in tone and color, I must bring in from nature the things that make my painting seem natural, so that a layman will only think that 1 have painted it from nature.”

Paula Modersohn-Becker (1876–1907) German artist

quote from her Diaries, 1 October, 1902; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 31
1900 - 1905

“The three horizontal bands at the top [ in his collage: landscape with paintings 1954] correspond to sea, sand and sky, while the yellow/white and red/white shapes at the bottom are the paintings – though of a kind I actually painted only later. It was the collage that suggested the idea of doing such paintings.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 18 : 'Notes from 1969'

“When I want to do a painting with one colour overlapping another, it has to be a real overlap, not a depicted overlap. I didn't want to paint an overlap, meaning that it would be a deception or illusion. I no longer wanted to depict space, but to make a work that existed in literal space. Thus, my recent works are one canvas as a relief over another canvas. Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White 1952. It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009

“In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition.”

Marc Chagall (1887–1985) French artist and painter

Quote from a letter to Mstislav V. Dobushinsky, = A. N. Benois, 1912; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147
1910's

“I am just beginning to understand what it is to paint. A painter should have two lives, one in which to learn, and one in which to practice his art.”

Pierre Bonnard (1867–1947) French painter and printmaker

“One has to seek Beauty and Truth, Sir! As I always say to my pupils, you have to work to the finish. There's only one kind of painting. It is the painting that presents the eye with perfection, the kind of beautiful and impeccable enamel you find in Veronese and Titian.”

William-Adolphe Bouguereau (1825–1905) French painter

Bouguereau (1895); Attributed in: Jefferson C. Harrison (1986) French paintings from the Chrysler Museum. Chrysler Museum, North Carolina Museum of Art, Birmingham Museum of Art (Birmingham, Ala.). p.45.

“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 (1905–1970) American artist

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

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Camille Pissarro 51

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