“I was encouraged to look around me and to paint what I saw. I painted my story, and it had a lot of angles to it. I was trying to explain how I saw life as a black person living in America, and I put things together that were not acceptable. A lot of people did not want these kind of paintings representing America in any sense, but I wanted to tell my story and what I saw…”

— Faith Ringgold

On the Civil Rights Movement puncturing the image of the American Dream in https://www.theartnewspaper.com/interview/faith-ringgold-discusses-civil-rights-and-children-s-books-ahead-of-solo-serpentine-gallery-show in The Art Newspaper (2019 Jun 5)

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Faith Ringgold 1

American artist 1930

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“I knew that I must paint not what I saw, but only what was in me, in my soul. Figuratively speaking, it was like this: In my heart I felt as if there were an organ, which I had to sound. And nature, which I saw before me, only prompted me. And that was a key that unlocked this organ and made it sound... They are songs without words.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938
Source: 1936 - 1941, Life Memories' (1938), p. 186

“I find that I have painted my life, things happening in my life — without knowing. After painting the Shell and shingle [c, 1926] many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle — the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted.”

Georgia O'Keeffe (1887–1986) American artist

1970s, Some Memories of Drawings (1976)

“It was as if I suddenly went to a foreign country but didn't know the language, but had read enough and had a passionate interest, and was eager to live there, I wanted to live in this land; I had to live there, and master the language. [reacting on Pollock's 'Black and White' paintings show in 1951; Frankenthaler saw his painting art then for the first time in her life]”

Helen Frankenthaler (1928–2011) American artist

Quote from Abstract Expressionism, Barbara Hess, New York, Abrams, 1971, p. 29
1970s - 1980s

“How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling..”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

from: Miro, on English Wikipedia
Miró's quote on 'automatic painting and drawing', explaining the start of his work 'Harlequin's Carnival' he made in Paris, strongly admired then by Surrealists like André Breton
1915 - 1940

“When I painted my seated men, I saw them as gyroscopes. Portraiture always fascinated me because I love the particular gesture of a particular expression or stance... Working on the figure, I wanted paint to sweep through as feelings sweep through..”

Elaine de Kooning (1918–1989) American painter

Quote of c. 1977, as quoted in 'The Portraitist', Berkson, Bill (1992), Modern Painters: pp. 40–42
1972 - 1989

“I always saw people painting with their arms and feet and I didn't understand why anyone didn't paint with their penis.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Portraiture painful for penile artist, 24 August 2011, 2, Independent Online]

“I paint what I see in America, in other words I paint the American scene.”

Stuart Davis (1892–1964) American painter

Cited in: Ian Chilvers, "Davis, Stuart," in: The Oxford Dictionary of Art, (2994). p. 195

“I did not know how to paint or even what to paint, but I knew I had to begin.”

Margaret Atwood (1939) Canadian writer

Source: CAT'S EYE.

“As far as transience is concerned... You see the whole story in those shoes, that's why I paint them so accurate. The physical attitude; crooked legs, a lump. Those shoes were talking to me, and then I thought: I can see that you were so and so big, but did you also had a wife? Children? What were you doing? And what really mattered to me is my own place between them. Between those stories, that mystery. That pitch-black background [in Jopie's paintings, till c.1979-80] - I had found it. A cry for attention. Those pants, that shirt, that background, that was: here I am. But then it become mannerism. So I carried on realistically but avoiding the black background at all costs. It is as Rutger Kopland says: Whoever found it did not look well. Now I want to paint people like this, like they are made of colored mud. Color spiritualizes.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Wat de vergankelijkheid betreft.. .Je ziet het hele verhaal in die schoenen, daarom schilder ik ze zo scherp. De lichamelijke houding; kromme poten, een knobbel. Die schoenen praatten tegen me, en dan dacht ik: ik kan zien dat je zo en zo groot was, maar had je ook een vrouw? Kinderen? Wat deed je? En waar het me in wezen dan om ging is mijn plekkie daartussen. Tussen die verhalen, dat mysterie. Die pikzwarte achtergrond [in zijn schilderijen, tot c. 1979-80]; ik had het gevonden. Een schreeuw om aandacht. Die broek, dat hemd, die achtergrond, dat was: hier ben ik. Maar dan word je een maniërist. Dus ik ben realistisch doorgegaan, maar koste wat het kost die zwarte achtergrond vermijdend. Het is zoals nl:Rutger Kopland zegt: Wie het gevonden heeft, heeft niet goed gezocht. Nu wil ik de mensen zo schilderen, als zijn ze van gekleurde modder. De kleur die vergeestelijkt.
Mens & Gevoelens: Jopie Huisman', 1993

“I painted like that because I wanted to get through to something new - a kind of painting that was my own.”

Georges Seurat (1859–1891) French painter

quote from Seurat, John Russell; Thames & Hudson, London 1965 ISBN 0-500-20032-7
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