Quotes about painting (2699 quotes, page 11)

“Her likeness! why it is a vain endeavour
To image it. Painting or words may never
Say what she was; yet dwell I on the task,
As if that Poesy had a right to ask
From Memory its treasure.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

25th March 1826) Ianthe. A Portrait (under the pen name Iole
(25th March 1826) Moon See The Vow of the Peacock
The London Literary Gazette, 1826

Memory

“This book [full of linoleum prints] will be an alphabet of pictorial elements without text, which shall aim at establishing a larger scale of painting, a closer contact between the artist and the wall, and a new spirit of art accompanying architecture.”

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

In the introduction, (written in 1951) of his not published book: "Line Form and Color"; as quoted in "Ellsworth Kelly, a Retrospective", ed. Diane Waldman, Guggenheim museum, New York 1997, p. 22
1950 - 1968

Books , Art

“Okay, okay." He stood up and went over to the corner, picking up the painting and bringing it over to rest against the bright pink belly of one of the mannequins. Then, he handed me a bandana. "Tie that on.””

Sarah Dessen book Keeping the Moon

Keeping the Moon (1999)

“Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy.”

Joseph Kosuth (1945) American conceptual artist

Joseph Kosuth in: Arthur R. Rose, “Four Interviews,” Arts Magazine (February, 1969).

Art , Question , Nature

“Yet, we are well assured that learning did not form any prominent feature in the education of a young nobleman during the Saxon government: it is notorious, that Alfred the Great was twelve years of age before he learned to read; and that he owed his knowledge of letters to accident, rather than to the intention of his tutors. A book adorned with paintings in the hands of his mother, attracted his notice, and he expressed his desire to have it: she promised to comply with his request on condition that he learned to read it, which it seems he did; and this trifling incident laid the groundwork of his future scholarship.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

xx
The Sports and Pastimes of the People of England (1801), Education

Books , Age , Education , Knowledge

“It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing’ from the logical point of view.... should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint.”

Giorgio de Chirico (1888–1978) Italian artist

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 232
1908 - 1920, On Mystery and Creation, Paris 1913

Faith , Art , Feeling , Idea

“It is not the subject which matters but the translation of the subject into the abstraction of the surface by means of painting. Therefore I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), pp. 12-13

“What I have suffered is unbelievable... I was given nothing [for his paintings in the Salon of 1855], not even a honorable mention.”

Johan Jongkind (1819–1891) Dutch painter and printmaker regarded as a forerunner of Impressionism

In Jongkind's letter from The Netherlands, 25 Nov. 1855; as quoted by Victorine Hefting, in Jongkinds's Universe, Henri Scrépel, Paris, 1976, p. 37

Suffering

“.. there comes a point when something catches on the canvas, something grips on the canvas. I don’t know what it is, you can put your paint on the surface? Most of the time it looks like paint, and who the hell wants paint on a surface? But there does come a time – you take it off, put it on, goes over here, moves over a foot, as you go closer you start moving in inches not feet, half-inches – there comes a point when the paint doesn't feel like paint. I don't know why. Some mysterious thing happens. I think you have all experienced it.... What counts is that the paint should really disappear, otherwise it's craft. That's what I mean by something grips in a canvas. The moment that happens you are then sucked into the whole thing. Like some kind of rhythm.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 67

Feeling , Hell , Thinking , Time

“The first step — especially for young people with energy and drive and talent, but not money — the first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.”

Chuck Palahniuk (1962) American novelist, essayist

Closing remarks made on an eClass forum (Barnes & Noble University) (2004-12-05)

Money , People , Books , World

“Photography is not an art. Neither is painting, nor sculpture, literature or music. They are only different media for the individual to express his aesthetic feelings... You do not have to be a painter or a sculptor to be an artist. You may be a shoemaker. You may be creative as such. And, if so, you are a greater artist than the majority of the painters whose work is shown in the art galleries of today.”

Alfred Stieglitz (1864–1946) American photographer

'Is Photography a Failure?', Alfred Stieglitz, 'Sun: 5.', March 14, 1922; as quoted on Wikipedia

Art , Music , Feeling , Literature

“I would recommend it to the Masters of the Art Painting… to establish a better Method for the Education of their Scholars, and to begin their Instructions with the Technical Parts of Painting, before they let them loose to follow the Inventions of their own uncultivated Imaginations.”

Brook Taylor (1685–1731) English mathematician

New Principles of Linear Perspective (1715, 1749)

Education , Art , Imagination , Parting

“If I could really paint! A month ago I was so sure of what I wanted. Inside me I saw it out there, walked around with it like a queen, and was blissful. Now the veils have fallen again, gray veils, hiding the whole idea of me. I stand like a beggar at the door, shivering in the cold, pleading to be let in. It is hard to move patiently, step by step, when one is young and demanding... I walk along the boulevards [Paris] and crowds of people pass by and something inside me cries out, 'I still have such beautiful things before me. None of you, not one, has such things.”

Paula Modersohn-Becker (1876–1907) German artist

And then it cries, 'When will it come? Soon?'
excerpt of her Journal, Paris 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 195
1897

People , Beauty , Idea

“My specialty is really painting moonlight – but I will not forget the sunshine.”

Johan Jongkind (1819–1891) Dutch painter and printmaker regarded as a forerunner of Impressionism

Jongkind's quote in an early letter (1840's), to his Dutch friend Eugène Smits; as cited by nl:Victorine Hefting, in Jongkinds's Universe, Henri Scrépel, Paris, 1976, p. 69

Forgetting

“The great feature of our medieval chamber is the furniture; this, in a rich apartment, would be covered with paintings, both ornaments and subjects; it not only did its duty as furniture, but spoke and told a story.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 71; Partly cited in: Export of objects of cultural interest 2010/11: 1 May 2010 - 30 April 2011. Stationery Office, 13 dec. 2011

“Maybe God is waiting for us to be silent long enough so he may begin painting a new picture in our imaginations, to begin transforming our image of a manageable deity into one that can truly inspire.”

Skye Jethani

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

God , Imagination , Waiting

“By nature I am a skeptic. I don't dare to think my paintings are great. I can't understand the arrogance of someone saying, 'I have created a big, important work.' I want to reject this pathetic behavior, this notion of the heroic artist. Pollock, Barnett Newman, Franz Kline, their heroism derived from the climate of their time, but we do not have this climate… On the other hand, you do need feelings like they had to some extent. So I am afraid there must be a side of me close to those feelings. Those absurd feelings.”

Gerhard Richter (1932) German visual artist, born 1932

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

Behavior , Feeling , Understanding , Nature

“Think of late paintings where Christ is the central figure... Remember the large mosaics of Rome. Reconcile the employment of large-scale decorative means and the direct emotions of nature.”

Maurice Denis (1870–1943) French painter

Quote, March 1895, from Denis' Journal; as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [23]
1890 - 1920

Nature , Thinking , Christ

“There she was, Beer's Unity, with almost every sail set and filled so that she appeared to be leaning forward into the surging spray beneath her beakhead. The huge broad-pendant straight out like painted metal, a picture of naval strength at its best.”

Douglas Reeman (1924–2017) British author

For My Country's Freedom, Cap 17 "And For What?"

Beer , Appearance

“Music combines the temporal aspects of film and dance with the spatial aspects of painting and sculpture, where pitch space (or frequency space) takes the place of three-dimensional physical space… frequency maps in the auditory cortex… function much the way that spatial maps do in the visual cortex.”

Daniel Levitin book The World in Six Songs

The World in Six Songs (2008)

Music , Way , Dance

“Come, swift-wing'd Fancy, airy maid,
In varied, dazzling vest array'd,
Inspire thy vot'ry's lay;
Grant me thy flow'ry walks to tread,
To range thy summer-painted mead,
Or near thy fountain play.
Now led by thy resistless hand,
Or guided by thy fairy wand,
O'er yet untrodden space;
Or on thy pinions borne along,
The bright Ideas' flitting throngs
Pursue th' aerial race.”

Elizabeth Bentley (writer) (1767–1839) British writer

Ode to Fancy (1790), from Genuine Poetical Compositions, on Various Subjects (1791)

Idea , Summer

“In the name of the dogma of struggle for existence and natural selection, they paint for us in the saddest colors this primitive humanity whose hunger and thirst, always badly satisfied, were their only passions; those sombre times when men had no other care and no other occupation than to quarrel with one another over their miserable nourishment. To react against those retrospective reveries of the philosophy of the eighteenth century and also against certain religious doctrines, to show with some force that the paradise lost is not behind us and that there is in our past nothing to regret, they believe we ought to make it dreary and belittle it systematically. Nothing is less scientific than this prejudice in the opposite direction. If the hypotheses of Darwin have a moral use, it is with more reserve and measure than in other sciences. They overlook the essential element of moral life, that is, the moderating influence that society exercises over its members, which tempers and neutralizes the brutal action of the struggle for existence and selection. Wherever there are societies, there is altruism, because there is solidarity.”

Émile Durkheim (1858–1917) French sociologist (1858-1917)

Source: The Division of Labor in Society (1893), p. 153

Life , Men , Hunger , Color

“Although Titian's works seem to many to have been created without much effort, this is far from the truth and those who think so are deceiving themselves. In fact, it is clear that Titian retouched his pictures, going over them with his colours several times, so that he must obviously have taken great pains. The method he used is judicious, beautiful, and astonishing, for it makes pictures appear alive and painted with great art, but it conceals the labour that has gone into them.”

Giorgio Vasari (1511–1574) Italian painter, architect, writer and historian

Giorgio Vasari in "Titian of Cadore", in Lives of the Artists as translated by George Bull (1987), Vol. I p. 458.

Pain , Truth , Beauty , Art

“I think half the point of painting a picture is that you don't know what will happen … that if painters did know what was going to happen they wouldn't bother to do it.”

Lucian Freud (1922–2011) British painter and engraver

Interview with Martin Gayford, Independent on Sunday 26 May 2002
Other

Thinking

“Perhaps a suitable analogy to explain the short-falls of Dawkins's account of evolution is to think of an oil painting. In this analogy Dawkins has explained the nature and range of pigments; how the extraordinary azure colour was obtained, what effect cobalt has, and so on. But the description is quite unable to account for the picture itself. This view of evolution is incomplete and therefore fails in its side-stepping of how information (the genetic code) gives rise to phenotype, and by what mechanisms. Organisms are more than the sum of their parts, and we may also note in passing that the world depicted by Dawkins has lost all sense of transcendence.”

Simon Conway Morris (1951) British palaeontologist

p9.
The Crucible of Creation (1998)

World , Nature , Thinking , Sense

“They are not like the – patron’s hands or the – blessing hands of the curate – They resemble their tools, mountains, tree trunks… The time is approaching when machines will – work FOR them – Then he will have hands like his boss – WHY NOT? – He's on the way – HIS LIFE begins TODAY [written text in his painting 'Les mains – hommage a Majakovski', 1951 - [ Vladimir Mayakovsky was a Russian Futurist poet].”

Fernand Léger (1881–1955) French painter

Quotes of Fernand Leger, 1950's
Source: Fernand Léger – The Later Years -, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 68

Life , Way , Mountain , Tree

“The Bellevue air [suburb outside Paris with curative waters] has done me a world of good... But Alas! Naturalist painting is more in disfavor than ever.”

Edouard Manet (1832–1883) French painter

quote in a letter to Emile Zola, June 1880; as quoted by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 16 - note 5
Manet had severe rheumatism and visited in 1879 a clinic in the same location, Bellevue, a suburb outside Paris with curative waters
1876 - 1883

World , Water

“Eschew the monumental. Shun the Epic. All the guys who can paint great big pictures can paint great small ones.”

Ernest Hemingway (1899–1961) American author and journalist

Letter (5–6 January 1932); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

Guy

“If Utrillo's paintings depicted actual scenes from life, if they were not imaginative pictorial fantasies, then the whole world would have had to be completely different. If Utrillo's representation was valid, then it would mean that mankind had regressed to an astonishing, almost unbelievable degree. All the things that Fitch believed man capable of enjoying -- dignity, solitude, integrity -- would have been experienced in the past. And that, he thought, was impossible. If men had ever possessed these benefits, they would never have given them up.”

Jane Roberts (1929–1984) American Writer

Source: The Rebellers (1963), p. 12

Life , Men , World , Imagination

“.. learn to draw: that's where most of you [Troyon's pupils] are falling down today.... draw with all your might; you can never learn to much. However, don't neglect painting, go to the country from time to time and make studies and above all develop them.”

Constant Troyon (1810–1865) French painter

quoted by Monet, in his letter to Boudin, 1859; as quoted in Discovering Art, – The life time and work of the World's greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 11
Monet is quoting in his letter Troyon, who was a good friend of his first art-teacher Eugène Boudin in Le Havre

Study , Learning , Time , Drawing

“A bell was rung. All the passengers came on deck. Never shall I forget the scene we then witnessed. It was ten o'clock in the morning. The sky was overspread with thick dark clouds. It looked like a vast temple at night, as the fitful, lurid sun cast a yellowish tinge resembling the pale light of the tapers near a catafalque. The foaming waves opened like immense tombs that seemed avid to swallow their first victim. When all was ready a porthole was opened, and a plank painted black, six feet long and three broad, was suspended over the deep. The body of a child, wrapped in a winding sheet, was placed upon it, with a large stone attached to the feet. For a minute or two the captain read -- I do not know what prayer. Profound silence reigned. The father scarcely shed a tear. The mother seemed quite unmoved. At a word spoken by the captain, the plank was raised in the air, and the next instant the light corpse glided into the waters. I made the Sign of the Cross over it, but alas, I do not know whether the child was even baptized. The passengers withdrew, apparently untouched by the scene, and some even smiled. How impiety deadens the heart!”

Théodore Guérin (1798–1856) Catholic saint and nun from France

Third Journal of Travel (1844-1845)

Smile , Tear , Light , Silence

“The paramount relation between poetry and painting today, between modern man and modern art, is simply this: that in an age in which disbelief is so profoundly prevalent or, if not disbelief, indifference to questions of belief, poetry and painting, and the arts in general, are, in their measure, a compensation for what has been lost. Men feel that the imagination is the next greatest power to faith: the reigning prince.”

Wallace Stevens (1879–1955) American poet

The Necessary Angel (1951), Imagination as Value

Men , Age , Faith , Art

“The annual Sexpo exhibition comes but once a year, and is not always memorable but this year one of our scouts discovered a truly unique talent at the show - a man who paints portraits with his, errm, manhood. Yes, Pricasso, as he calls himself, took Darling Harbour by storm last week.”

Pricasso (1949) Australian painter

[Annette Sharp, The Diary: Painting by members, The Sun-Herald, Sydney, Australia, 29 July 2007, 2, Fairfax Media Publications Pty Limited]
About

Scouting

“Still reeling from the buzzing of German-designed appliances, and desperately trying to find a stall that served coffee and muffins instead of edible knickers and herbal elixirs, I watched bemused at the Sexpo as the craggy Pricasso dipped his dangly bit into paint and dabbed at a piece of paper on the easel.”

Pricasso (1949) Australian painter

[Cape Argus staff, Put an end to dangling conversations, Cape Argus, South Africa, 16 September 2008, 13, Independent Online]
About

Coffee

“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

Children , Stupidity , Art , Understanding

“There are so many things to paint in the world – in the cities – so much to see. Does art need to represent this variety and contribute to its proliferation? Can art be that free? The difficulties begin when you understand what it is that the soul will not permit the hand to make. To paint is always to start at the beginning again, yet being unable to avoid the familiar arguments about what you see yourself painting. The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish.”

Phillip Guston (1913–1980) American artist

What sympathy is demanded of the viewer! He is asked to 'see' the future links
1961 - 1980, ARTnews Annual', October 1966

World , Art , Soul , Understanding

“Pricasso, who has been painting with his penis for six years, said painting with his penis could be painful, but he had resorted to making his own non-toxic, washable paint.”

Pricasso (1949) Australian painter

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

Pain

“A missionary may persuade a painted savage to worship a cross rather than an idol; but he will not make laws that send that savage’s children to school, where they might learn to make the desert they inhabit another Eden by means of the advanced sciences. He may persuade his flock to love one another for his God’s sake, but he’ll invariably urge them to slaughter any neighboring tribe that still worships stone idols. This is the failure of religion as a force for the common welfare.”

Kage Baker book Mendoza in Hollywood

Part 3 “The Island Out There” Chapter 3 (p. 304)
Mendoza in Hollywood (2000)

Love , God , Children , School

“I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that.”

Alan Moore (1953) English writer primarily known for his work in comic books

http://www.independent.co.uk/arts-entertainment/books/features/alan-moore-the-reluctant-hero-64407.html

Art , Feeling , Literature , Change

“I had to go to the Bauhaus to the basic course that was given by Itten. And I submitted to that although I was a little older than Itten. But I have not the best memories of my studies there. So when that course was over everyone had to exhibit his work and then it was decided whether or not one could continue. I was accepted to continue. But I wanted to go into a workshop and I wanted to make stained glass. That was my old dream. Glass pictures. But Itten thought I was not ready for that. Certainly to delay my study in glass, Itten said, 'Glass painting is a branch of wall painting and you should go first to our wall painting workshop,' And I said, 'That's nonsense. Wall painting has to do with reflected light and glass painting with direct light.' So I said 'Sorry, I'll do my own stuff on my own.”

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

I had no money. Just a Rucksack and a hammer. And I started these assemblages. That was in 1921, But in all books on assemblages these things are not mentioned.
Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Money , Books , Dreams , Study

“I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting. After looking comes imitating. In my own case it was at first largely a technical immersion. How did Kline put down that color? Why did Guston leave the canvas bare at the edges? Why did H. Frankenthaler used unsized canvas. And so on.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, The Pratt lecture (1960), p. 113

Color , Way

“If I were the government I would have a special brigade of gendarmes to keep an eye on artists who paint landscapes from nature. Oh, I don't mean to kill anyone; just a little dose of bird-shot now and then as a warning.”

Edgar Degas (1834–1917) French artist

"Some of Degas' Views on Art" (p. 56)
Degas hated to paint outdoor and even to see landscape-paintings, like for instance the 'draughty' ones of Monet
posthumous quotes, Degas: An Intimate Portrait' (1927)

Nature , Bird

“Every night, at exactly a quarter past three, something dreadful happens on the street outside our bedroom window. We peek through the curtains, yawning and shivering in the life-draining chill, and then we clamber back beneath the blankets without exchanging a word, to hug each other tightly and hope for sound sleep before it's time to rise.

Usually what we witness verges on the mundane. Drunken young men fighting, swaying about with outstretched knives, cursing incoherently. Robbery, bashings, rape. We wince to see such violence, but we can hardly be shocked or surprised any more, and we're never tempted to intervene: it's always far too cold, for a start! A single warm exhalation can coat the window pane with mist, transforming the most stomach-wrenching assault into a safely cryptic ballet for abstract blobs of light.

On some nights, though, when the shadows in the room are subtly wrong, when the familiar street looks like an abandoned film set, or a painting of itself perversely come to life, we are confronted by truly disturbing sights, oppressive apparitions which almost make us doubt we're awake, or, if awake, sane. I can't catalogue these visions, for most, mercifully, are blurred by morning, leaving only a vague uneasiness and a reluctance to be alone even in the brightest sunshine.”

Greg Egan (1961) Australian science fiction writer and former computer programmer

Scatter My Ashes http://gregegan.customer.netspace.net.au/HORROR/SCATTER/Scatter.html, published in Interzone (Spring 1988)
Fiction

Life , Men , Hope , Sleep

“Painting is the most beautiful lie.”

Kees van Dongen (1877–1968) Dutch painter

Alternative:
Painting is the most beautiful of lies.
Source: Modern Dutch painting: an introduction, Netherlands Information Service, (1960), p. 26
Source: Dossier pédagogique, Service culturel, Musée d’Art Moderne de la Ville de Paris, Mars 2011

Lie , Beauty

“Sometimes I think dent-resistant side panels are a waste of money, but then I remember ladies be always throwing themselves at my car, and titties can wreak havoc on a paint job.”

Joey Comeau book Overqualified

Letter to Credico, pg 45.
Overqualified

Money , Cars , Thinking

“The only valid thing in art is that which cannot be explained. To explain away the mystery of a great painting – if such a feat were possible – would be irreparable harm… If there is no mystery then there is no 'poetry', the quality I value above all else in art. What do I mean by 'poetry'? It is to a painting what life is to man… For me it is a matter of harmony, of rapports, of rhythm and – most important for my own work – of 'metamorphosis”

Georges Braque (1882–1963) French painter and sculptor

1946 - 1963, interview with John Richardson' (1957)

Life , Art

“It was only in the evenings that I played the violin [c. 1999-1901, to earn his money for living]. During the day I was free to spend my time as I wished. With a few colours in a box, a canvas and a cheap easel under my arm, I would make my way to the Banks of the Seine... I painted to restore my peace of mind, to calm my desires and, above all, to purify myself a little... Make a career of painting. How I would have laughed if someone had talked to me about that! To be a painter is not a profession, no more than being an anarchist or a lover, a race-track rider..”

Maurice de Vlaminck (1876–1958) French painter

Source: Quotes dated, Dangerous Corner', 1929, p. 66

Money , Peace , Way , Lovers

“Rather than just a depiction of nature, I searched for something like soul. I was occupied with painting children, studying them was more rewarding to me than studying adults at that time. I also wanted to give more to the children.”

Fritz von Uhde (1848–1911) German artist

As quoted in Bowron, Aurisch, Supan, Künste (2000). Romantics, realists, revolutionaries: masterpieces of 19th-century German painting from the Museum of Fine Arts, Leipzig. Prestel. p. 158

Children , Soul , Search , Nature

“.. I am so often showing my work in Germany that I belong to the German moderns... I openly want to confess you that I don't value the new painting in my home country very much. That is why I don't have a lot of acquaintances among the painters. Everything here is so little progressive. People's life is to easy here. It is very difficult to keep wide-awake since all are sleeping here. I feel much more at home in Germany.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018
version in Dutch / citaat van Jacoba van Heemskerck, in het Nederlands vertaald: ..ik ben zo vaak met mijn werk in Duitsland dat ik helemaal tot de Duitse modernen behoor.. .Ik wil u openlijk bekennen dat ik de nieuwe schilderkunst in mijn vaderland niet erg hoog aansla. Daarom heb ik ook niet erg veel kennissen onder de schilders. Alles is hier zo weinig vooruitstrevend. De mensen herbben het veel te goed. Het is erg moeilijk wakker te blijven aangezien allen hier slapen. In Duitsland voel ik me veel meer thuis.
Quote of Jacoba van Heemskerck, in a letter of June 1921 to prof de:Hans Hildebrandt, Stuttgart Germany; as cited in Jacoba van Heemskerck van Beest, 1876 – 1923: schilderes uit roeping, A. H. Huussen jr. (ed. Marleen Blokhuis), (ISBN: 90-400-9064-5Waanders, Zwolle, 2005, p. 179
1920's

Life , People , Feeling , Home

“As far as my work concerned, I am busy with a few small paintings, one is ordered and the other I have to 'adventure'. More and more I feel that I am short of so many studies, if I had the money, I didn't make any painting next year, I would only study [sketches]; but well, you have to make the best of a bad job, it will be hard enough to enable myself a living.”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Wat mijn werk betreft zit ik aan enige kleine schilderijtjes, een is mij besteld en die andere moet ik avonturen. Ik voel hoe langer hoe langs hoe meer dat ik zooveel studie te kort kom, als ik geld had schilderde ik in het eerste jaar geen schilderij en studeer ik [schetsen], maar enfin je moet eens door een zure appel heenbijten, het zal mij moeite genoeg kosten om te kunnen leven.
Quote of Mauve, in a letter to Willem Maris, from Oosterbeek, 1864; as cited in Anton Mauve 1838 - 1888, exhibition catalog of Teylers Museum, Haarlem / Laren, Singer, ed. De Bodt en Plomp, 2009, p. 133
1860's

Money , Feeling , Business , Study

“Herman Cain: My reaction is, that is very insensitive. There are some words that do not basically inspire the kind of negativity like that particular word. And I know that you've refrained from saying that word, so I'm going to say what the word was on the rock. The name of the place was called "Niggerhead". That is very insensitive. And since Governor Perry has been going there for years to hunt, I think that shows a lack of sensitivity for a long time of not taking that word off of that rock and renaming the place. It's just a basic case of insensitivity.
Christiane Amanpour: It was painted over.
Herman Cain: Yes, it was painted over. But how long ago was it painted over? So I'm still saying that it is a sign of insensitivity.”

Herman Cain (1945) American writer, businessman and activist

Thinking , Time

“In other words, the listener’s own picture was painted in the shining coulours St Odhran provided. By seeing what they wished, they also saw what he wished them to see. “They are the Orchestra,” he had told me earlier, “and I am merely the Conductor.””

Michael Moorcock book The City in the Autumn Stars

Source: The City in the Autumn Stars (1986), Chapter 6 (p. 269)

“Well, Mondrian is absolute, and is pure, and those are real aspirations of our [American Abstract Expressionism art]. When I say 'pure', I don't mean 'clean'. I don't think Mondrian himself did; I knew him when he was here [New York] during the war. He went to an exhibition by the Surrealist, Tanguy, and was asked what he thought, and he said he would like Tanguy's pictures better if they were dirtier, that for him they were to clean…. I think he meant that when they were to 'clean', they were essentially lifeless, statuesque, unrevised. As for me, I must say, Mondrian's painting is intensely rhythmic, warm, passionate - restricted as the means ostensibly seem to me.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 81
1960s, Interview with David Sylvester', (1960)

War , Art , Thinking , Passion

“Although teaching in the class is so terribly tiring... I continued my work perfunctorily in a way that nobody could notice it. Because I lived with that firm intention: in a few years I will start painting. And I saved for this by being as sober as possible with everything.”

Suze Robertson (1855–1922) Dutch painter

(version in original Dutch / origineel citaat van Suze Robertson:) Al is dat klassikale lesgeven ook zóó vermoeiend.. ..ik zette mijn werk plichtmatig voort, zodat wel niemand 't aan mij kon merken. Want ik leefde op het vaste voornemen: over eenige jaren ga ik schilderen. En daar spaarde ik voor, door in alles zoo sober mogelijk te wezen.
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 31

Way

“His [ Edouard Manet's] paintings, as they always do, produce the impression of a wild or even a somewhat unripe fruit. I do not in the least dislike them.”

Berthe Morisot (1841–1895) painter from France

Quote of Berthe 1864-65 in a letter to her sister Edma Morisot; as cited in Berthe Morisot, the first lady of Impressionism, Margaret Sehnan; Sutton Publishing (ISBN 0 7509 2339 3) 1996, p. 50
1860 - 1870

“If it hurt me to have to give up a painting I figured it had to hurt them to write the check. That's how I came up with the price for my work.”

Keariene Muizz (1977) American artist

Associated Press (2008); from an interview conducted by John Rogers.

Hurt

“If a work of art is to explore new environments, it is not to be regarded as a blueprint but rather as a form of action-painting.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

To Wilfred Watson, October 6 1965. Letters of Marshall McLuhan (1987), p. 325
1960s

Art

“A structure-less painting is, to me, a painting that does not matter. Structure mirrors your degree of responsibility toward the work. You can’t just let it float around in pretty colors. It needs a kind of core. But this is an inner structure. It does correspond to being a geologist — the metaphor may be trite, but it works. Like when you see these breathtaking mountains in strange colors in eastern Greenland. As a geologist, you want to know what exactly they’re doing.”

Per Kirkeby (1938–2018) Danish artist

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Color , Mountain

“Each of my paintings is a cycle. It’s like existence, life. They are always in motion... If they were fixed and static, they would be false.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Life , Falseness

“I believe that in our period it is definitely necessary that, as far as possible, the paint is applied in pure colours, set next to each other in a pointillist or diffuse manner. This is stated strongly, and yet it relates to the idea which is the basis of meaningful expression in form, as I see it. It seems to me that the clarity of ideas should be accompanied by a clarity of technique.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in Mondrian's letter to Israel Querido, Summer of 1909; published in the weekly magazine 'De Controleur' 23 Oct, 1909; as cited in English translation, in Two Mondrian sketchbooks 1912 - 1914, ed. Robert P. Welsh & J. M. Joosten, Amsterdam 1969 p. 10
1900's

Idea

“Mathematics have a triple aim. They must furnish an instrument for the study of nature. But that is not all: they have a philosophic aim and, I dare maintain, an esthetic aim. They must aid the philosopher to fathom the notions of number, of space, of time. And above all, their adepts find therein delights analogous to those given by painting and music. They admire the delicate harmony of numbers and forms; they marvel when a new discovery opens to them an unexpected perspective; and has not the joy they thus feel the esthetic character, even though the senses take no part therein? Only a privileged few are called to enjoy it fully, it is true, but is not this the case for all the noblest arts?
This is why I do not hesitate to say that mathematics deserve to be cultivated for their own sake, and the theories inapplicable to physics as well as the others. Even if the physical aim and the esthetic aim were not united, we ought not to sacrifice either.”

Henri Poincaré book The Value of Science

Source: The Value of Science (1905), Ch. 5: Analysis and Physics

Art , Music , Feeling , Mathematics

“Painting has a nature which is not entirely translatable into verbal language. I think painting is a language, actually. It's linguistic in a sense, but not in a verbal sense. I think that one wants from painting a sense of life. And I think that is true. One wants to be able to use all of one’s facilities in all aspects of one’s life... You may have to choose how to respond and you may respond in a limited way, but you have been aware that you are alive. The final suggestion, the final statement, has to be not a deliberate statement but a helpless statement.”

Jasper Johns (1930) American artist

interview with Johns conducted in 1975 at Johns’ studio by Yoshiaki Tono, as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 89
1970s

Life , Way , Nature , Thinking

“Paint what you feel. Paint what you see. Paint what is real to you.”

Robert Henri (1865–1929) American painter

Source: Henri, Robert (2007) [1923], p. 285.

Feeling

“Take care for purity in the paint and not so stinky thick of grease, thin, thin, thin! And just on the light [parts in the painting] here and there a small push of thick [paint].... thick house-interiors are unpleasant - long drawing before you start and arrange pleasantly together all things before you start to paint - if the money does not bother you, it is always useful to visit Rott. [Rotterdam].”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat van Jozef Israëls' brief, in het Nederlands): Zorg voor zuiverheid in de verf en niet zoo stinkerig dik van smeerderij, dun, dun, dun, en zo op het licht hier en daar een zetje dik[ke verf].. ..dikke binnenhuizen zijn onaangenaam - lang teekenen voor je begint en het prettig bij elkaar arrangeren voor gij aan het verwen gaat - als het geld u niet begroot, is het altijd nuttig om eens naar Rott. [Rotterdam!?] te gaan.
Quote of a letter by Jozef Israels to painter David de la Mar, 1867; as cited in Mythen van het Atelier, ed. Mayken Jonkman & Eva Geudeker; d'jonge Hond, Zwolle/The Hague, 2010 – ISBN 9789089102065 ( source online http://delamar.bntours.nl/!mad1832-bronnen.html)
Israels' painting technique did develop only rather slowly. In 1867 he still gave this rather traditional academic advice to the young painter nl:David de la Mar
Quotes of Jozef Israels, 1840 - 1870

Money , Light , Parting , Drawing

“Only what can be seen there [in the painting] is there... What you see is what you see.”

Frank Stella (1936) American artist

Stella's quote 1964, in an interview; as quoted in: Harold Rosenberg (1972) The Re-Definition of Art. p. 125
Quotes, 1960 - 1970

“At the moment there is a great tendency in painting to discover the 'new' harmony by constructive means whereby the rhythmic is built on an almost geometric form... I am certain that our own modern harmony is not to be found in the 'geometric' way, but rather in the anti-geometric, anti-logical way. And this way is that of 'dissonance in art', in painting, therefore, just as much as in music. And 'today's' dissonance in painting and music is merely the consonance of 'tomorrow.”

Wassily Kandinsky (1866–1944) Russian painter

Quote in Kandinsky's letter to Arnold Schönberg, 18 Jan. 1911; as cited in Schonberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9
1910 - 1915

Art , Music , Way

“I am not sick. I am broken. But I am happy to be alive as long as I can paint.”

Frida Kahlo (1907–1954) Mexican painter

Quoted in Time Magazine, "Mexican Autobiography" (27 April 1953)
1946 - 1953

Happiness

“In my tender years and bairn-age, at schools, having on the one part contracted a loving familiaritie with a certain gentleman a papist, and on the other part being attentive to the sermons of that worthy man of God, Maister Christopher Goodman, teaching upon the Apocalyps, I was moved in admiration against the blindness of papists that could not most evidentlie see their seven hilled Citie of Rome, painted out there so lively by Saint John, as the Mother of all Spiritual Whoredome: that not onlie bursted I oute in continuall reasoning against my said familiar, but also from thence forth I determined with myself by the assistance of God's spirit to employ my study and diligence to search out the remanent mysteries of that holy booke (as to this houre praised be the Lord I have bin doing at all such times as convenientlie I might have occasion) &c.”

John Napier (1550–1617) Scottish mathematician

A Plaine Discovery of the Whole Revelation of St. John (1593) Preface, as quoted by David Stewart Erskine Earl of Buchan, Walter Minto, An Account of the Life, Writings, and Inventions of John Napier, of Merchiston (1787) a reference to his education at the University of St. Andrews

Love , God , Books , Age

“The dumping of the mentally ill, full of these new psychiatric drugs, into the streets is a scandal. It’s been carried furthest in New York, where whole sections of the decayed Upper West Side are being filled with pensioners and psychotic patients on stelazine, lithium carbonate, and everything else under the sun. They can’t diagnose the patient, so they give him the whole psychiatric pharmacopoeia at once, and he walks around in a psychotic trance beautifully painted all over with petrochemicals.”

Kenneth Rexroth (1905–1982) American poet, writer, anarchist, academic and conscientious objector

"Pysch Ward" http://www.bopsecrets.org/rexroth/autobio/5.htm
An Autobiographical Novel (1991)

Sun

“In Mexico City they somehow wandered into an exhibition of paintings by the beautiful Spanish exile Remedios Varo: in the central painting of a triptych, titled “Bordando el Manto Terrestre,” were a number of frail girls with heart-shaped faces, huge eyes, spun-gold hair, prisoners in the top room of a circular tower, embroidering a kind of tapestry which spilled out the slit windows and into a void, seeking hopelessly to fill the void: for all the other buildings and creatures, all the waves, ships and forests of the earth were contained in the tapestry, and the tapestry was the world.”

Thomas Pynchon book The Crying of Lot 49

Source: The Crying of Lot 49 (1966), Chapter 1

World , Beauty , Girl , Heart

“The oldest girl [his daughter Maro, four and a half years old] did this. She paints like a little bird. And this, the young one [Natasha, two and a half] did. See, she paints on both sides of the canvas. She is more like a passionate plumber. I wish I could paint as freely as they do. There is a gravity of playfulness in their work. If they could only keep it – but they will lose it as they grow older.”

Arshile Gorky (1904–1948) Armenian-American painter

1942 - 1948, A Painter in a Glass House' (1948)

Girl , Bird , Passion , Daughters

“The reckoning with idealism as a view of life is universal, but it also touches on something central in art-its life's substance. One must understand that it is impossible to distinguish between a picture’s form and its substance. As the flower's structure is governed by the intentional tension (when it loses the sap the form is lost), so also with art the substance creates the tension. Form and substance are one and the same. Form is the life expression and substance the living painting.”

Asger Jorn (1914–1973) Danish artist

1940 - 1948, Intimate Banalities' (1941)

Life , Art , Flowers , Understanding

“The painted, engraved, and carved images of prehistory are threads from past cultures, and we are foreigners trying to interpret their meaning. Perhaps more than anything else, art can be fully understood only in the context of the culture that produced it.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Art , Past

“Dear Rainer Maria Rilke
I thank you for saying that you rather like my painting of 'the little child'... You have brought me the first touch of Paris with this phrase of yours about 'liking and approving', and that alone is a great deal... Will I be seeing you here [in Worpswede] before I leave? I really hope not. The ground is burning a little beneath my feet... And now, I don't even know how I should sign my name. I'm not Modersohn, but I'm no longer Paula Becker anymore either [because she was married with Otto Modersohn, but is now leaving him]. I am Me, and I hope to become Me more and more. That is surely the goal of all our struggles... I am now leaving Friday night and shal arrive in Paris on Saturday. Write a line to 29 Rue Cassette, where I plan to stay..”

Paula Modersohn-Becker (1876–1907) German artist

quote in a letter from Worpswede, 17 February, 1906 to Rainer Maria Rilke in Paris; as quoted in Modersohn-Becker P, Busch G, Reinken LV: Paula Modersohn-Becker, the Letters and Journals, Taplinger; New York 1983, p. 383-84
1906 + 1907

Hope , Night

“I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting – to non-objective creation.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, November 1916, in: 'From Cubism and Futurism to Suprematism: The New Realism in Painting'
1910 - 1920

“My friend Bonner has just set off to Charlotte Street to pack your picture (an old painting) and forward it; it is a beautiful representation of a summer's evening; calm, warm and delicious; the colour on the man's face is perfect sunshine. The liquid pencil of this school is replete with a beauty peculiar to itself. Nevertheless, I don't believe they had any 'nostrums,' but plain linseed oil; 'honest linseed' as old Wilson called it. But it is always right to remember that the ordinary painters of that day used, as now, the same vehicle as their betters, and also that their works have all received the hardening and enamelling effects of time, so that we must not judge of originality by these signs always.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (20 December 1833), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), pp. 45-46
1830s

School , Beauty , Time , Summer

“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964-65; as cited on collected quotes on the website of Gerhard Richter: on 'Photo-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/photo-paintings-12
1960's

“The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism... In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in 'Appreciations of other artists': Max Ernst (painter, sculptor author) 1945, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

War , World , Drawing

“When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision.”

Agnes Martin (1912–2004) American artist

interview by Suzan Campbell, May 15, 1989; transcript in 'Archives of American Art', The Smithsonian Institution, Washington, D.C.
One of her first grid paintings she made in New York in 1964, it was [ https://www.moma.org/collection/works/78361 titled 'The Tree']. Martin often described this painting as her first grid. In fact, she had been making them since at least the beginning of 1960's
1980 - 2000

Thinking , Tree

“Yes, perhaps that was it. For decades now the picture of the world painted by the scientists had become strange, distant, unbelievable. Far easier, then, to ignore it than try to understand. Things were too complicated. Why bother? Turn on the telly, luv. Right.”

Gregory Benford book Timescape

Source: Timescape (1980), Chapter 11 (p. 146)

World , Understanding , Distant

“Bloated, one [=Kirchner himself] staggers off to work, where all work is in vain and the onslaught of mediocrity flattens everything. Like the cocottes that I painted, that is how one is now. Wiped out, next time gone.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Quote of Kirchner in a letter to Gustav Schiefler, March 28, 1919, in Dube-Heynig, Kirchner: Graphik, p. 49; as cited in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 78
1916 - 1919

Time

“Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither. At every point in nature there is something to see. My work contains similar possibilities for the changing focus of the eye.”

Jasper Johns (1930) American artist

Sixteen Americans, (1959) Dorothy C. Miller, Moma, New York, p. 22
1950s

Nature , Change , Time

“Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration.”

William Burges (1827–1881) English architect

Quote was introduced with the phrase:
In the lecture on the weaver's art, we are reminded of the superiority of Indian muslins and Chinese and Persian carpets, and the gorgeous costumes of the middle ages are contrasted with our own dark ungraceful garments. The Cufic inscriptions that have so perplexed antiquaries, were introduced with the rich Eastern stuffs so much sought after by the wealthy class, and though, as Mr. Burges observes
Source: Art applied to industry: a series of lectures, 1865, p. 85; Cited in: " Belles Lettres http://books.google.com/books?id=0EegAAAAMAAJ&pg=PA143" in: The Westminster Review, Vol. 84-85. Baldwin, Cradock, and Joy, 1865. p. 143

People , Art , Search , Flowers

“Excellent Lord: —Knowing your Excellency's love for painting and your passion for protecting it as shown in the patronage of Ginlio Eomano; —being further desirous of pleasing your Excellency, —I have taken the opportunity of Messer Pietro Aretino's arrival [in Venice] to paint his likeness, and as he comes — a second St. Paul —to preach the virtues of your Excellency, and I likewise know that you are fond of so faithful a servant because of his many virtues, I make you herewith a present of his portrait. But I also bear in remembrance the Signor Girolamo Adorno who adored the Marquis of Mantua, and as he was a qualified gentleman, I send your Excellency a present of him also. These may not be gifts worthy of so great a person as your Excellency.... Most devoted servant, Titiano Vecellio.”

Titian (1488–1576) Italian painter

Quote from a letter of Titian, to the Marquess Gonzaga of Mantua, from Venice 22 Juin 1527; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account..., publisher John Murray, London, 1877, p. 317
Assuredly Titian at this time had Messer Pietro Aretino for a sitter; this letter proves his intimacy with the secretary of Giovanni de Medici
1510-1540

Love , Faith , Passion , Personality

“I put it [a still life of a pear, made by Manet there [on the wall, next to Ingres' painting 'Jupiter'], for a pear like that would overthrow any god.”

Edgar Degas (1834–1917) French artist

remark in a conversation with the writer Moore, ca. 1875; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 117
1855 - 1875

Life , God

“I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles.”

Guity Novin (1944) artist

Source: Ayandegan (1973), p. 4

Love , Way , Appearance

“Dear friend! I am still staying in Oosterbeek as you can see but I will now leave in 2 days. The last days I spent on two small paintings ordered by Mr. de Visser. I painted them in a happy atmosphere... I send them to you because they were still wet when I sent them away and I could hardly do that to Mr. de Visser. Please, do you want to give them a layer of egg-varnish and when you discover here or there a badly seen dash, or you see a chance to make a witty thing in the paintings, oh chap, I pray you do so, because if he doesn't like them, I'll get no bread and have nasty problems, because I need the money so badly..”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from the original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve's brief, in het Nederlands:) Waarde Vriend! Ik zit zoo als gij ziet nog altijd te Oosterbeek doch zal nu over 2 dagen vertrekken de laatste tijd heb ik aan twee kleine schilderijtjes besteed voor den Heer de Visser, ik heb ze onder een gelukkige atmosfeer geschilderd.. ..ik zend ze jou omdat ze nat waren toen ik ze afzond en ik dat moeyelijk aan den Heer de Visser kon doen, wilt gij ze s.v.p. met een eivernisje bestrijken en vindt gij ze hier of daar eene slecht geziene greep, of ziet gij gemakkelijk kans er nog eene geestige zet in te doen, och kerel ik bid je doe het, want als ze hem niet bevielen en ik krijg geen duiten dan zit ik er leelijk mee in, ik heb ze hoog noodig..
In a letter of Mauve from Oosterbeek 4 Nov. 1867, to Willem Maris in The Hague; from the original letter https://rkd.nl/explore/excerpts/109, RKD Archive, The Hague
1860's

Money , Problem , Chance , Happiness

“The tradition of portrait painting, to embellish or idealize the subject, remains the aim of everyday and of commercial photography, but it has had a much more limited career in photography considered as art. Generally speaking, the honors have gone to the Cordelias.”

Susan Sontag book On Photography

"The Heroism of Vision", p. 105
On Photography (1977)

Art

“Well, I think it [painting] is a life measuring stick. And I'm concerned with being myself, getting to know more and more what that is, what is possible, and what the real meaning of beauty and development is. I'm concerned with development and growth. But I am in my everyday life. I hate to feel deadly. But that does not mean that repetition or experiment isn't in the total picture of growth and development. And I think that pace and place differently at different times for each person.”

Helen Frankenthaler (1928–2011) American artist

quote about her attitude
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Life , Hate , Beauty , Feeling

“To occupy my imagination, which has been depressed by dwelling on my misfortunes, and to compensate at least in part for some of the considerable expenses I have incurred, I set myself to painting a series of cabinet pictures.... they depict themes that cannot usually be dealt with in commissioned works, where 'capricho' [whim] and invention do not have much of a role to play. I thought of sending them to the academy..”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

letter to his friend Bernardo de Iriarte, deputy of the Royal Academy of San Fernando in Madrid, Jan. 1794; as quoted in 'Goya and Iriarte', in Goya his Life and Work, P. Gassier and J. Wilson, 1971, p. 382
cabinet paintings were small portable paintings, which did not need a lot of wall-space and could be moved around at the owner's whim. Goya's famous series 'Caprichos' really begin after physical and probably mental breakdown in 1792. He was 46, and thereafter deaf until his death in 1828
1790s

Imagination , Parting

“As regards my paintings of similar compositions I cannot give you any indication [about possible 'variants' in his works] because I'm afraid I've never made a note of where my paintings have ended up... I am always at work and work is my sole passion. And unfortunately I've become aware that I must always start from the beginning, and ought to burn what I've done in the past.”

Giorgio Morandi (1890–1964) Italian painter

Quote in his letter of 2 Aug. 1954; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 42
1945 - 1964

Passion , Past

“The portability of the book, like that of the easel-painting, added much to the new culture of individualism.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 233

Books

“Last night I couldn't sleep till after four in the morning – I had been out to the canyon all afternoon – till late at night – wonderful color – I wish I could tell you how big – and with the night the colors deeper and darker – cattle on the pastures in the bottom looked line little pinheads. I can understand Pa Dow painting his pretty colored canyons – it must have been a great temptation – no wonder he fell. Then the moon rose right up out of the ground after we got out on the plains again – battered a little where he bumped his head but enormous – There was no wind – it was just big and still – so very big and still – long legged jack rabbits hopping across in front of the light as we passed – A great place to see the night time because there is nothing else.”

Georgia O'Keeffe (1887–1986) American artist

then I came home – not sleepy so I made a pattern of some flowers I had picked – They were like waterlilies – white ones – with the quality of smoothness gone.
Canyon, Texas, (September 14, 1916), pp. 186, 187
1915 - 1920, Letters to Anita Pollitzer' (1916)

Color , Home , Flowers , Understanding

“If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it... I see everything that way, the surface of things, a kind of mental Braille. I just pass my hands over the surface of things.”

Andy Warhol (1928–1987) American artist

1973
1968 - 1974, Electric chair quote
Source: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

Way

“Although he had his faults as a writer, Howard was a natural storyteller, whose narratives are unmatched for vivid, gripping, headlong action. His heroes – King Kull, Conan, Bran Mak Morn, Solomon Kane are larger than life: men of mighty thews., hot passions, and indomitable will, who easily dominate the stories through which they stride. In fiction, the difference between a writer who is a natural storyteller and one who is not is like the difference between a boat that will float and one that will not. If the writer has this quality, we can forgive many other faults; if not, no other virtue can make up for the lack, any more than gleaming paint and sparkling brass on a boat make up for the fact that it will not float.”

Robert E. Howard (1906–1936) American author

~ L. Sprague de Camp, Conan of the Isles, "Introduction", 1968
About

Life , Men , Forgiveness , Nature

“There are many ways to practice and make art. There are also various ways to express, such as comedy, sculpture, music, painting etc. Dimensions can be immense even in such small spaces as the head of a pin.”

Eugenio Cruz Vargas (1923–2014) Chilean poet and painter

Quote
Source: Famous phrase of Eugenio Cruz Vargas http://www.angelred.com/urls/arte.htm|
Source: Sky http://viaf.org/viaf/13641853/|
Source: From Library of Congress Name Authority File of U.S.A. http://id.loc.gov/authorities/names/n81126660.html|

Art , Music , Way