“My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking purely through colour... And now I leave these small – but to me – important works to the future and to the people who love art.”

— Alexej von Jawlensky

from: 'Lebenserinnerungen', 1938 - after 1937 Jawlensky couldn't paint any longer because of severe arthritis
Source: 1936 - 1941, Life Memories' (1938), p. 249

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Alexej von Jawlensky 23

Russian painter 1864–1941

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“Since 1929 I have suffered from an extremely painful disease [arthritis deformans] which gets worse every year. Little by little my arms and hands have become stiff and bent and I have terrible pain. This stiffness in my elbows and wrists has tremendously hindered my painting and I have had to find a new technique. My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual..”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938
Source: 1936 - 1941, Life Memories' (1938), p. 23

“The problem which Mondrian undertook to solve in nr. 116 [a new painting of Mondrian, exhibited in a group-exhibition in the Stedelijk Museum in 1915 in Amsterdam] was handled very successfully. This work spiritually dominates all others. It gives the impression of Repose; the repose of the soul. Its predetermined structure embodies 'becoming' rather than 'being'. This represents a true element in art, for art is not 'being', but 'becoming'. The idea of 'becoming' has been expressed in black and white…. Through years of hard work my own experiences have led me, before I came to know the theories of Uexkuell or Picasso, to prefer the use of the white-black-grey palette in works of a purely spiritual content…”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Dutch art-magazine: 'Eenheid' (in Dutch: Unity) no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 105
1912 – 1919

“I also often hear the word 'evolution'. Repeatedly I am asked to explain how my painting evolved. To me there is no past or future in my art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was. Art does not evolve by itself, the ideas of people change and with them their mode of expression.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Paris 1923
As quoted by Marius de Zayas, in 'The Arts', New York, May 1923
Quotes, 1920's, "Picasso Speaks," 1923

“My etchings have.... the mistake of being processed as images and to have at the same time the meaning of epigrams. It is the union of pure painting with pure graphics... From now onwards my task will be the division of art and graphics, and the full development of both fields. The pure art has already turned to impressionism and the graphics is going to do it.”

Paul Klee (1879–1940) German Swiss painter

Quote in a letter to his wife, 12 June, 1906; as cited in Paul Klee. Das Frühwerk 1883-1922, p. 50.
1903 - 1910

“You should remember that my things are still intended to be paintings, that is to say, they are plastic representations, in and by themselves, not part of a building. Furthermore, they have been made in a small room. Also, that I use subdued colours for the time being, adapting myself to the present surroundings and to the outer world; this does not mean that I should not prefer a pure colouring. Otherwise you might think that I contradict myself in my work.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian in a letter to Theo van Doesburg, 13 Feb. 1917; as cited in 'Stijl' catalogue, 1951, p. 72; in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, pp 13-14
1910's

“I have always worked on the assumption that if something is valid and meaningful to me, it will also be valid and meaningful to many others. Not to everyone of course. On the basis of this assumption I do not think of an audience when I work, but only of my own reactions. By the same token I do not worry whether what I am doing is art or not. If what I paint is expressive, if it seems to communicate the feeling that is important to me, then I am not concerned if my work does not have marked earmarks of art. My work has been called abstract, surrealistic, totemistic and primitive.... I chose my own label and called my paintings 'Pictographs'..”

Adolph Gottlieb (1903–1974) American artist

Arts and Architecture, vol. 68, no 9, September 1951, p. 21.
1950s

“People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.eventiesagre.it/Eventi_Mostre/18010_Sogni+Miti+Colori.html, Eventi Mostre. Sogni Miti Colori 07/06/2008-30/06/2008 Pietrasanta (LU), Toscana, www.eventiesagre.it, Italian, 28 February 2013

“Every artist works within a tradition. I am a native of Russia. My Russian soul has always been close to the art of old Russia, the Russian icons, Byzantine art, the mosaics in Ravenna, Venice, Rome, and to Romanesque art. All these artworks produced a religious vibration in my soul, as I sensed in them a deep spiritual language. This art was my tradition.”

Alexej von Jawlensky (1864–1941) Russian painter

quote from his letter to the National Socialist State Cultural administration, 1939; Jawlensky asked permission to exhibit his painting art, which was turned down by the Nazi regime
Source: 1936 - 1941, Life Memories' (1938), p. 24

“Painting is concerned with all the ten attributes of sight, namely darkness and brightness, substance and colour, form and place, remoteness and nearness, movement and rest; and it is with these attributes that this my small book will be woven, recalling to the painter by what rules and in what way he ought by his art to imitate all things that are the work of nature and the adornment of the world.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter

“I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

“My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking purely through colour... And now I leave these small – but to me – important works to the future and to the people who love art.”

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