“We [Richter and w:Blinky Palermo ] could really just speak about painting. The main thing was about the surface of color or the proportion of color. It was impossible for me to talk to Sigmar Polke about the opacity of color. With Palermo, yes. We supported each other, we comforted each other a little bit. We thought this really could not be true that everything was supposed to be over ['painting' as an expression of art, in the 1970's). Art had to be relevant [in the 1970's], and our art was not relevant.”

— Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), pp. 96-97

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Gerhard Richter 96

German visual artist, born 1932 1932

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“He [Richter's art-mate, the German painter Sigmar Polke ] was very different, he was not cool... He had irony. He was very funny. The things we did together [around 1963 – 1970] were a kind of craziness... We thought everything was so stupid and we refused to participate. That was the basis of our understanding.... he was able to paint those little dots in his raster paintings by hand with such a patience while he was living with his two children and his wife in a small subsidized apartment.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 45-46, note 43

“look at other people and ask yourself if you are really seeing them or just your thoughts about them…. Without knowing it, we are coloring everything, putting our spin on it all.”

Jon Kabat-Zinn (1944) American academic

Source: Wherever You Go, There You Are - Mindfulness Meditation In Everyday Life

“Lueg and Palermo saw what was good, what was bad, in what I was painting. That became the basis of our relationship, that we shared an idea, a sensibility. With Sigmar Polke, it was different. Our relationship was based on being outrageous. I have difficulties with his work. He [Polke] refuses all values and criteria, and for that reason I could never talk to him seriously. He refuses to accept any borders, any limits.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“That's how it is
One day two paintings were hanging,
Right opposite each other
Really colorful and beautiful the one
And the other simple and honest
* That simplicity and truth are the characteristics
of science and of art.
Well, people can not understand that.
It was to the tinsel that they gave their favor.”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (kort gedicht van Jozef Israëls, in het Nederlands):
Zoo is het
Er hingen eens twee schilderijen,
Juist vlak tegenover elkaar
Regt kleurig en schitterend de eene
En d'ander eenvoudig en waar
** Dat eenvoud en waarheid het kenmerk
Van wetenschap is en van kunst
Och, dat kan het volk niet begrijpen
En [aan] 't klatergoud schonk het zijn gunst.
A short poem of Israëls, written in his letter from The Hague, 13 Dec. 1876 to art-seller Pilgeram & Lefèvre in London; from collection of Fondation Custodia, Institut Neérlandais Paris, input no. 1971-A 506
Quotes of Jozef Israels, 1871 - 1900

“I have not built any theory. I have only tried to build up sensitive eyes, as my book says. And I have tried to achieve that by aiming at very distinct color relationships again – like how do they influence each other? Change each other in light and in intensity, in transparency, opacity? How do they change each other in all different directions? That we make all the students aware, through experience, that color is the most relative medium in art, and that we never really see what we see. All neighboring means which occur every minute different, not only in changing light but also by our changing moods. And in the end, the study of color again is a study of ourselves.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“Sometimes it is better not to talk about art by using the word "art". If we just act with awareness and integrity, our art will flower, and we don't have to talk about it at all.”

Thich Nhat Hanh (1926) Religious leader and peace activist

Source: Peace Is Every Step: The Path of Mindfulness in Everyday Life

“.. drawing, always all my learning had to do with drawing. And I never really thought about color at all. When I first started thinking about color it was sort of out of perversity. In other words, say around 1950 and '51, it occurred to me that something ugly or muddy could be a color as well as something clear and bright and a nameable, beautiful, known color.”

Helen Frankenthaler (1928–2011) American artist

quote about her years 1950-51 - reacting on the general view that her painting art was mainly focused on color and not on drawing / line
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“Could we ever know each other in the slightest without the arts?”

Gabrielle Roy (1909–1983) French Canadian fiction writer

Gabrielle Roy, in the back of the Canadian $20 bill (On September 29, 2004, the Bank of Canada issued a $20 bank note in the Canadian Journey Series which included a quotation from Gabrielle Roy book The Hidden Mountain- La Montagne secrète - 1961)

“Pop Art, Op Art, Flop Art and Slop Art... I fall into the last two categories [her remark, in the mid 1970’s].”

Joan Mitchell (1925–1992) American painter

Quote of Joan Mitchell, in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 78
1975 - 1992

“we are drawn to each other like drops of water, like the planets we repulse each other like magnets, like the color of our skin.”

Tite Kubo (1977) Japanese manga artist

Source: Bleach, Volume 04

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