“Like the postcard collages, the colors are shapes in a landscape. In this case [his collage 'Napoleon at Würtsburg'] it is a painting of a landscape, not a photo as in the postcards [collages], and therefore a contrast of the traditional painting and a presentation of literal space on top of depicted space.”

— Ellsworth Kelly

1981 - 2008
Source: 'Kelly in conversation, summers 1985 and 1986'; ed. Diane Upright, "Ellsworth Kelly: Works on Paper", Harry N. Inc., Publishers, New York, in association with the Fort Worth Art Museum, New York, 1987 p. 21

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Ellsworth Kelly28

American painter, sculptor, and printmaker 1923–2015

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“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'

“These collages were static symmetrical constructions, portico's with pathetic vegetation, the gateway to the realm of dreams. They were done with colored paper in black, orange or blue dye plates. Although cubist painting interested me very much, not a trace of their influence was to be found in my collages.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 420 - quote on his early collages, Hans Arp made ca. 1914.

“Actually, it was in Paris in 1914 that I did my first collages, for an occultist friend. They were mysterious portico's which were supposed to replace mural paintings and which evoked the structure of palm branches or fish-bones. [remark on the first collages Arp made, in different materials]”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 430

“I started to introduce letters into my pictures [his first collage art]. These were forms which could not be deformed, because, being two-dimensional, they existed outside three-dimensional space; their inclusion in a picture allowed a distinction to be made between objects which were situated in space and those which belonged outside space”

Georges Braque (1882–1963) French painter and sculptor

the letters
Source: posthumous quotes, Braque', (1968), p. 68

“Do you know what was great? Finding out that a stupid, ridiculous thing like copying a postcard could lead to a picture. And then the freedom to paint whatever you felt like. Stags, aircraft, kings, secretaries. Not having to invent anything anymore, forgetting everything you meant by painting – color, composition, space – and all of the things you previously knew and thought. Suddenly none of this was a prior necessity for art.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 60-61, note 94

“After doing the imaginary landscapes until say 1956, in ’57 I came out with the first Burst painting… There was a different type of space than I had ever used and it was a further clarification of what I was trying to do. The thing that was interesting that it was a return to a focal point, but it was a focal point with the kind of space that existed in traditional painting. Because this was like a solitary image or two images that were just floating in the canvas space. They had to hold the space and they also had to create all the movement – that took place within the rectangle.”

Adolph Gottlieb (1903–1974) American artist

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

“In my figures [of his famous painting 'Vision After the Sermon'] I have achieved a great simplicity, which is both rustic and superstitious….. In this picture the landscape and the struggle [between Jacob wrestling with the angel ] exist only in the imagination of the people whom the sermon has moved to prayer. That's why there is a contrast between the people, depicted naturally, and the struggle in its unnatural and dis-proportioned landscape.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Source: 1870s - 1880s, The Writings of a Savage (1996), p. 24: quote in his letter to Vincent van Gogh, c. 1888

“The new discovery that I have made in painting is the following. There are chords of colors, let's say a certain red and green, which move, shimmer when you look at them. Now if you're looking at a tree in a landscape, you can either look at the tree, or at the landscape, but not both, because of the stereoscopic effect. Now, when you are painting something three-dimensional, the chromatic sound which shimmers is the three-dimensional effect of colour, and when you paint a landscape, and the green foliage shimmers a little with the blue sky showing through it, that happens because the green is on a different plane from the sky in nature too. Finding the space-shaping energies of colour, instead of contenting ourselves with a dead chiaroascuro, is our finest task.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

in a letter to artist de:Hans Thuar, 1913, from Lake Thun in Switzerland; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 145

“I frequently leave areas of raw, unprimed canvas unpainted [as in her painting 'Chairman of the Board', 1971].... That 'negative' space has just as active a role as the 'positive' painted space. The negative spaces maintain shapes of their own and are not empty.”

Helen Frankenthaler (1928–2011) American artist

Quote from 'The collection', MOMA, online 1 http://www.moma.org/collection/object.php?object_id=80139 <br class="br">1990s - 2000s

“There must be no more pictures covered in brown sauce [c. 1880, when Munch started to paint series of landscapes in fresh colors]”

Edvard Munch (1863–1944) Norwegian painter and printmaker

a written note; as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 41
after 1930

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Ellsworth Kelly28

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