
n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29
Durand prefers the old execution, however he grants that my recent paintings have more light - in short, he isn't very keen. My 'Grey Weather' https://upload.wikimedia.org/wikipedia/commons/7/72/Pissarro_-_the-roofs-of-old-rouen-grey-weather-1896.jpg doesn't please him; his son and Caseburne [Durand's cashier] also dislike it.. .It appears that the subject is unpopular. They object to the red roof and backyard just what gave character to the painting which has the stamp of a modern primitive, and they dislike the brick houses, precisely what inspired me..
Quote in a letter, Paris, 27 July 1886, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 80
1880's
n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29
"The Essential Ellison", interview by Ishmael Reed in Y'Bird 1, no. 1 (1978): 130-59.
Source: Artists talks 1969 – 1977, p. 27 - quote referring to his close art-friend, American Minimal Art artist Frank Stella
In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in ‘Living Arts, June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 33
1960s
Hartley to Kuntz, April 4, 1932; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 99
in this quote Hartly is referring to his mythical paintings like 'Tollan, Aztec Legend' (1933)
1931 - 1943
Source: after 2000, Doubt and belief in painting' (2003), p. 51, note 63
Quote of Pissarro, in a letter, Paris, 6 December 1886, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 84
1880's
So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11