“During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine 'Veshch' (Gegenstand) [= Object] (first pro-Soviet edition). [I] Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam. My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition. At this time, in 1923, I contracted pulmonary tuberculosis.”

— El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

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El Lissitsky 43

Soviet artist, designer, photographer, teacher, typographer… 1890–1941

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“In 1935 I was appointed leading artist of the All-Soviet Agricultural Exhibition. I opposed the errors of the first leader, and resigned. Afterwards, while I was still in the sanatorium, I took over the design of the main building. The design of the main hall has been done according to my idea until now. From 1931 on, I was leading artist-architect of the 'Permanent Building Exhibition'. But as the years went by, my health deteriorating, I had less and less energy left for this type of commission, such as the realization of large-scale exhibitions. I still succeeded in designing the project for the museum-exhibition of the Ministry of 'Social Security'.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

“[I] Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I traveled more than 1200 km in Italy on foot, learning and drawing. In 1912 my works were accepted for the first time at the large exhibition in Petersburg. From 1915 in I lived in Moscow, exhibiting each year.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1926 - 1941, Autobiography of the artist' (1941)

“New York Mayor Rudy Giuliani is once again expressing outrage at an art exhibit, this time at a painting in which Jesus is depicted as a naked woman. Said the mayor, "This trash is not the sort of thing that I want to look at when I go to the museum with my mistress."”

Tina Fey (1970) American comedian, writer, producer and actress

citation needed

“One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.”

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

Source: Karel Appel – the complete sculptures,' (1990), p. 79 'Quotes', K. Appel (1989)

“In the second half of the 18th century, first residences-museums were created in Poland. Old palaces were changed to adapt them for exhibitions purposes, or new buildings were erected with separate museum annexes. First such museums in Poland was established in 1802 by Stanisław Kostka Potocki at Wilanów. The museums at Nieborów, Nieśwież, Puławy, Rogalin, Gołuchów and Kórnik followed. At first these museums were established as a response to fashion, later national and patriotic issues became prevailing reasons.”

Marek Żukow-Karczewski (1961) Polish historian, journalist and opinion journalist

Residences-museums: Heritage of the european culture in Poland, "Aura" 7, 1991-07, p. 14-16. http://yadda.icm.edu.pl/yadda/element/bwmeta1.element.agro-81720189-fe01-4686-befa-5b1649bfb0d9?q=1248075a-cd0e-4666-81f5-dc2af54d3ff7$4&qt=IN_PAGE

“Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 9-10 : 'Notes from 1969'

“German: I am the first living art museum”

Genco Gulan (1969) contemporary artist

Ich bin das erste lebende kunst museum.
Arikonmaz, Piril Gulesci (2012-02-02) 'Ben bir müzeyim’ http://www.haberturk.com/yazarlar/piril-gulesci-arikonmaz/712691-ben-bir-muzeyim Haberturk (In Turkish). Retrieved 2012-06-01.

“In 1936, when the last issue of 'Abstraction-Création' appeared, Europe was in a deep slump. Hitlerism was rampant in Germany and many artists had already fled there… There were evil portents on the horizon; night was about to descend over Europe. It was at that moment that America took up the case of abstract art. The association of 'American Abstract Artists' was founded that year, and it was also in 1936 that the exhibition Cubism and Abstract Art was held at the Museum of Modern Art in New York… At about this time a flood of refugees – artists, intellectuals, and men of science – began to pour into the United States.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), p. 103

“Surrounded by countless people who murmur my name and call me 'maître', I am about to inaugurate the exhibition of my one hundred illustrations of the Divine Comedy at the Galliera Museum.”

Salvador Dalí (1904–1989) Spanish artist

Source: Quotes of Salvador Dali, 1961 - 1970, Diary of a Genius (1964), p. 189 - Prologue

“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

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