“In the last few days I have been thinking very intensively about my art and I believe that things are progressing for me. I even think that I'm beginning to have a liaison with the sun. Not with the sun that divides everything up and puts shadows in everywhere and plucks the image into a thousand pieces, but with the sun that broods and makes things gray and heavy and combines them all in this gray heaviness so that they become one. I'm thinking about all of that very much and it lives within me besides my great love. A time has come when I think that I shall again be able to say something [in her painting] one day; I am again devout and full of expectation..”

— Paula Modersohn-Becker

In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201
1900 - 1905

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Paula Modersohn-Becker55

German artist 1876–1907

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“Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight... When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Paris, 15 May 1906 to Otto Modersohn in Worpswede; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 204
1906 + 1907

“In some circles where very heavy people think they have very heavy brains, words like "charming" and "clever" and "pretty" are all put-downs; all the lighter things in life, which are the most important things, are put down.”

Andy Warhol (1928–1987) American artist

Source: 1975, The Philosophy of Andy Warhol (1975), Ch. 4: Beauty

“Look, Easter's a very special day for me. And I see it's sort of in that timeline that I'm thinking about. And I say, "Wouldn't it be great to have all of the churches full?"”

Donald J. Trump (1946) 45th President of the United States of America

you know the churches aren't allowed, essentially, to have much of a congregation there. And most of 'em, I watched on Sunday, online. And it was terrific, by the way, but online is never going to be like being there. So I think Easter Sunday, and you'll have packed churches all over our country. I think it would be a beautiful time. And it's just about the timeline that I think is right.

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https://www.independent.co.uk/news/world/americas/us-politics/trump-coronavirus-news-reopen-us-borders-easter-holiday-a9423041.html
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“To me, Pollock is the height of American painting. It's very lyrical. Gorky, who is very passionate, can copy a drawing or take a drawing and copy it exactly as a painting, and Miro can too, it's amazing. Miro can do a drawing to paint and that's another training in a sense. So there's a certain mannerism that comes in both of them [three], and probably everything becomes obvious in time. But I don't have that. The line is illustrated or the colour. I'm sure it has great feeling when they're doing it, but it's more towards defining something. It has a certain clarity because it's a complex thing. I'm a painter and my whole balance is not having to think about things. So all I think about is painting. It's the instinct for the placement where all that happens. I don't have to think about it. So I don't think of composition; I don’t think of colour here and there. Sometimes I alter something after. So all I could think is the rush... I cannot make a picture unless everything is working. It's like a state.”

Cy Twombly (1928–2011) American painter

Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 179

“I don't think it's very easy to make friends with musicians. We're all a bit paranoid. It soon becomes very heavy.”

Ian Anderson (1947) Scottish musician, leader of Jethro Tull

[John, Tobler, 1992, NME Rock 'N' Roll Years, 1st, Reed International Books Ltd, London, 272, CN 5585]

“I really do live for the future, because when I'm eating a box of candy, I can't wait to taste the last piece. I don't even taste any of the other pieces, I just want to finish and throw the box away and not have to have it on my mind any more. I would rather either have it now or know I'll never have it so I don't have to think about it. That's why some days I wish I were very very old-looking so I wouldn't have to think about getting old-looking.”

Andy Warhol (1928–1987) American artist

Source: 1975, The Philosophy of Andy Warhol (1975), Ch. 7: Time

“It's all very confusing. I think I'm very honest and candid, but I'm also proud of how honest and candid I am -- so where does that put me?”

David Foster Wallace (1962–2008) American fiction writer and essayist

“If you're in the room, I want to be next to you. If you're gone, I think about you. You're who I want to talk to. In a fight, I want you at my back. When we're together the sun is shining. When we're apart, everything is in shades of gray.”

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Source: Fang

“I am constantly observing things and believe that I am coming closer to beauty. In the last few days I have discovered form and have been thinking much about it. Until now I've had no real feeling for the antique. I could find it very beautiful by itself. But I could never find any thread leading from it to modern art. Now I've found it, and that's what I believe is called progress.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198
1899

“… as a matter of fact it is nice to paint a happy picture after a sad one. I think there is a kind of loneliness in a lot of them which I don't think about as the fact that I'm lonely and therefore I paint lonely pictures, but I like kind of lonely things anyhow; so if the forms express that to me, there is a certain excitement that I have about that.... What I try to do is to create the painting so that the overall thing has the particular emotion; not just the forms in it.... in other words, there's a particular static or heavy form that can have a look to it, an experience that translated through the form; so then it does have a mood. And when that is there, well then it becomes it becomes a painting whereas all the other pictures that have far more interesting shapes and so on, don't become that to me.”

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

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Paula Modersohn-Becker55

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