Quotes about painting (2699 quotes, page 14)

“I will try to explain what I mean by metamorphosis. For me no object can be tied down to any sort of reality. A stone may be part of a wall, a piece of sculpture, a lethal weapon, a pebble on a beach or anything else you like.... when you ask me whether a particular in one of my paintings depicts a woman's head, a fish, a vase, a bird, or all four at once, I can't give you a categorical answer, for this 'metamorphosic' confusion is fundamental to the poetry.”

Georges Braque (1882–1963) French painter and sculptor

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

Bird , Reality , Fish , Parting

“I don't like talking. I don’t like people talking to me... Painting is silence.”

Bram van Velde (1895–1981) Dutch painter

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

People , Silence

“It's like living in a house where everything's painted red.”

Paul Desmond (1924–1977) American jazz musician

On Ornette Coleman's playing
Unsourced

Housing

“I think I would choose Soutine... I've always been crazy about Soutine - all of his paintings. Maybe it's the lushness of the paint. He builds up a surface that looks like a material, like a substance. There's a kind of transfiguration, a certain fleshiness in his work... I remember when I first saw the Soutine's in the Barnes Collection.... the Matisse's had a light of their own, but the Soutine's had a glow that came from within the paintings - it was another kind of light.”

Willem de Kooning (1904–1997) Dutch painter

The impact of Chaim Soutine (1893-1943): de Kooning, Pollock, Dubuffet, Bacon, publisher: Hatje Cantz, Galerie Gmurzynska, Cologne (Köln), 2001.
Answer on the question who is his favourite artist, probably made around 1977.
1990's & from posthumous publications

Thinking , Light

“When shall we see poets born? After a time of disasters and great misfortunes, when harrowed nations begin to breathe again. And then, shaken by the terror of such spectacles, imaginations will paint things entirely strange to those who have not witnessed them.”

Denis Diderot (1713–1784) French Enlightenment philosopher and encyclopædist

On Dramatic Poetry (1758)

Imagination , Time

“I'll never have enough time to paint all the pictures I'd like to.”

Norman Rockwell (1894–1978) Armatian

As quoted in A Rockwell Portrait : An Intimate Biography‎ (1978) by Donald Walton, p. 61

Time

“A painting is not a battle against other people, but against oneself.”

Bram van Velde (1895–1981) Dutch painter

1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

People

“Calcutta, for me, was a particular idea of the modern city, and I found it in many forms, works, and genres. … by ‘modernity’ I have in mind something that was never new. True modernity was born with the aura of inherited decay and life. … if you look at paintings and photographs, and see old films of the city, you notice that these walls and buildings were never new – that Calcutta was born to look more or less as I saw it as a child. I’m not referring here to an air of timelessness; the patina that gave to Calcutta’s alleys, doorways, and houses their continuity and disposition is very different from the eternity that defines mausoleums and monuments. It’s this quality I’m trying to get at when I speak of modernity. … modernity in the nineteenth century is indistinguishable from nature; perhaps it is nature – in some ways, the culvert, which has emerged from the rock, seems more of its place than the mountain itself.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

citation needed
On Modernity

Life , Way , Mountain , Idea

“Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.”

George Steiner (1929–2020) American writer

Source: Tolstoy or Dostoevsky (1960), Ch. 1.

Love , Art , Imagination , Housing

“This proposal will help protect everyone from hazardous lead paint chips falling onto the street. We need to remove this dangerous problem from our above ground subway lines.”

Jose Peralta (1971–2018) American politician

Problem , Help

“By God you are the only great man, except George Pitt, that I care a farthing for, or would wear out a pair of shoes in seeking after. Long-headed cunning people and rich fools are so plentiful in our country that I don’t fear getting now and then a face to paint for bread, but a man of genius with truth and simplicity, sense and good nature, I think worth his weight in gold - [signed:] 'Your Likeness Man”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote in Gainsborough's letter to Hon. Constantine Phipps, undated; as cited in 'My Dear Maggoty Sir – The Letters of Thomas Gainsborough' http://thedabbler.co.uk/2011/10/my-dear-maggoty-sir-the-letters-of-thomas-gainsborough/, review by Roger Hudson, in Slightly Foxed, 18 Oct, 2011
undated

God , People , Truth , Fear

“I wanted to tell you that in about 1883 there occurred a kind of break in my work. I had got to the end of 'Impressionism', and I had come to the conclusion that I didn't either how to paint or how to draw. In short, I had come to a dead end.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 175 : Renoir's remark to Vollard.

Drawing , Dead

“Certain artists and critics attacked me for painting the 'Women' [series of paintings, De kooning started in 1950], but I felt that this was their problem, not mine. I don’t really feel like a non-objective painter at all... It's really absurd to make an image, like a human image. With paint, today, when you think about it, since we have this problem of doing it or not doing it. But then all of a sudden it was even more absurd not to do it. So I fear I have to follow my desires.”

Willem de Kooning (1904–1997) Dutch painter

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 45.
1960's

Women , Fear , Feeling , Problem

“I've never claimed that this is investment art. When we first started out, all the art colleges and universities across the country would sort of badmouth what we were doing. It's funny that a lot of them now are sending us letters saying, 'We may not totally agree with the way you paint, but we appreciate what you're doing, because you're sending literally thousands of people into art colleges.”

Bob Ross (1942–1995) American painter, art instructor, and television host

(1990) reported in Associated Press (July 7, 1995) "Bob Ross, Painting Instructor to Millions, Dead at 52".

People , Art , Way , Universe

“.. no true artist ends with the style that he expected to have when he began,... it is only by giving oneself up completely to the painting medium that one finds oneself and one's own style.”

Robert Motherwell (1915–1991) American artist

The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46
1950s

“I came to Paris with all my ideas of art fixed, and I have never found it necessary to change them. I have been more or less in love with this master, or that method in art, but I have not modified any fundamental opinions. You have seen my first drawing, made at home without a master, without a model, without a guide. I have never done anything different since. You have never seen me paint except in a low tone; demi-teinte [half-tone] is necessary to me in order to sharpen my eyes and clear my thoughts, - it has been my best teacher.”

Jean-François Millet (1814–1875) French painter

Millet is describing his development as artist to his friend and later biographer fr:Alfred_Sensier
Source: Jean-Francois Millet – Peasant and Painter, 1881, p. 44

Love , Art , Home , Idea

“I think of myself as an American artist: I like it here... I feel I represent the U. S. in my art but I'm not a social critic. I just paint those things in my paintings because those things are the things I know best. I'm not trying to criticize the U. S. in any way, not trying to show up any ugliness at all. I'm just a pure artist, I guess. But I can't say if I take myself seriously as an artist. I just hadn't thought about it. I don't know how they consider me in print, though.”

Andy Warhol (1928–1987) American artist

Quote of Warhol in Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467
1963 - 1967

Art , Way , Feeling , Thinking

“I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.... Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language.”

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. 82
1960s, Interview with David Sylvester', (1960)

School , Literature , Thinking , Time

“There seemed an unwritten agreement that the Thunder God should be left in peace, which was probably due to the very clearly written message painted on a whitewashed wall in what looked like lumpy congealed blood, which read: Leave me in peace and I probably won't kill you. No promise, mind. Probably is absolutely the best I can do.</i”

Eoin Colfer book And Another Thing...

And Another Thing... (2009), Chapter 8

God , Peace , Reading

“In our thought of Empire to-day there is nothing in the nature of flag-wagging or boasting of painting the map red. No! Only a sense of pride in the race from which we spring—a pride which makes us humble in our own eyes, and resolute to make ourselves as worthy as we may of the heritage and responsibilities which are ours.”

Stanley Baldwin (1867–1947) Former Prime Minister of the United Kingdom

Broadcast from 10 Downing Street, London (24 May 1927), quoted in Our Inheritance (London: Hodder and Stoughton, 1938), p. 60.
1927

Spring , Nature , Sense

“It is not a recognisable scene [his two paintings 'Dances at the spring', 1912 - Picabia painted the motion and the excitement of a peasant dance while he was on his honeymoon in the countryside of Italy; one version is lost]. There is no dancer, no spring, no light, no perspective, nothing other than the visible clue of the sentiments I am trying to express... I would draw your attention to a song of colours, which will bring out for others the joyful sensations and feelings inspired in me on those summer days when I found myself somewhere in the country near the Italian border, where there was a spring in a wonderful garden. A photograph of that spring and that garden would in now way look like my painting 'Dance at a spring' I was shown for the first time at the w:Salon d'Automne in Paris in 1912.”

Francis Picabia (1879–1953) French painter and writer

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 200
1920's

Way , Feeling , Spring , Light

“A teacher?”
“Yes. He argued that we are the gods, that we create our own destiny. That what we are determines what will become of us. In a peasantlike vernacular, we all paint ourselves into corners from which here is no escape simply by being ourselves and interacting with other selves.”
“Interesting.”
“Well. Yes. There is god of sorts, Croaker. Do you know? Not a mover and shaker, though. Simply a negator. An ender of tales. He has a hunger that cannot be sated. The universe itself will slide down his maw.”
“Death?”
“I do not want to die, Croaker. All that I am shrieks against the unrighteousness of death. All that I am, was, and probably will be, is shaped by my passion to evade the end of me.” She laughed quietly, but there was a thread of hysteria there. She gestured, indicating the shadowed killing ground below. “I would have built a world in which I was safe. And the cornerstone of my citadel would have been death.”
The end of the dream was drawing close. I could not imagine a world without me in it, either. And the inner me was outraged. Is outraged. I have no trouble imagining someone becoming obsessed with escaping death.
“I understand.”

Glen Cook book The White Rose

“Maybe. We’re all equals at the dark gate, no? The sands run for us all. Life is but a flicker shouting into the jaws of eternity. But it seems so damned unfair!”
Source: The White Rose (1985), Chapter 39, “A Guest at Charm” (p. 625)

Life , Death , Hunger , God

“Last year I asked too much of my strength. I can't go on like this. it was not possible for me, I had to step back, I didn't make anything but stones [about his paintings? ] … They wanted to see beautiful paintings but I still couldn't make them, one illusion disappears for the other. I have made Cold reality, and I have made Truth. Is there a truth, also the cold reality is a truth. What exists between them was [only] baroque convention. I threw away everything in the stove... I am messing up my time with them; what is nothing more than material is no art to me; I could not bring it out..”

Matthijs Maris (1839–1917) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018
version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: Ik heb verleden jaar een beetje te veel van mijn krachten gevergd, ik kan dat niet volhouden, het was mij niet mogelijk, ik moest weder terug, ik heb niets zitten maken als steenen [over zijn schilderijen?].. .Zij hebben van mij mooie schilderijen willen zien en ik heb ze nog niet kunnen maken, de eene illusie verdwijnt voor de andere, ik heb de koude werkelijkheid gemaakt, en ik heb de Waarheid gemaakt. Is er een waarheid, de koude werkelijkheid is ook een waarheid. Wat daartusschen ligt was baroque conventie. Ik heb alles in de kachel gestopt.. ..ik zit er mijn tijd op te verknoeien; wat materieel is, is voor mij geen kunst. Ik heb die er niet uit kunnen brengen.
in a letter to E. Goossens van Eijndhoven, c. 1886, published in Onze Kunst, 1918, p. 136; as cited in 'Matthijs Maris' in Palet serie; een reeks monografieën over Hollandsche en Vlaamsche schilders https://archive.org/details/paletserieeenree4amstuoft, dr. H. E. v. Gelder; H. J. W. Becht, Amsterdam, pp. 13-14
Matthijs was that year painting his famous work 'The Bride, or Novice taking the Veil / De Kerkbruid' https://en.wikiquote.org/wiki/Matthijs_Maris#/media/File:Matthijs_Maris_The_Bride,_or_Novice_taking_the_Veil,_c_1887.jpg

Truth , Beauty , Art , Reality

“I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live.”

Grandma Moses (1860–1961) American artist

As quoted in her obituary in The New York Times (14 December 1961) http://www.nytimes.com/learning/general/onthisday/bday/0907.html

People , Forgetting

“Well, I know what I have to do, so it is simple. Duty is a wonderful thing. I do not know what I should have done without duty since young Tom died. You could have painted, he told himself. Or you could have done something useful. Maybe, he thought. Duty is simpler.
This is useful, he thought. Do not think against it. It helps to get it over with. That's all we are working for. Christ knows what there is beyond that.”

Ernest Hemingway book Islands in the Stream

Pt. 3: At Sea, Section 15
Islands in the Stream (1970)

Thinking , Help , Christ

“I'm done with girls on rocks! I've painted them for thirteen years and I could paint them and sell them for thirteen more. That's the peril of the commercial art game. It tempts a man to repeat himself. it's an awful thing to get to be a rubber stamp. I'm quitting my rut now while I'm still able.”

Maxfield Parrish (1870–1966) American painter and illustrator

"Maxfield Parrish Will Discard 'Girl-on-Rock' Idea in Art" Associated Press (27 April 1931)

Art , Girl , Game

“Chesterton was important — as important to me in his way as C. S. Lewis had been.
You see, while I loved Tolkien and while I wished to have written his book, I had no desire at all to write like him. Tolkien’s words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm. Chesterton was the complete opposite. I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.”

Neil Gaiman (1960) English fantasy writer

"Mythcon 35 Guest of Honor Speech", in Mythprint (October 2004) http://www.mythsoc.org.nyud.net:8090/mythcon/35/speech/

Love , Books , Way , Nature

“Are you ever going to show me the painting?”

Sarah Dessen book Keeping the Moon

Keeping the Moon (1999)

“Oh Baudelaire... He used to be enormously important to me. It's thanks to him that I was able to get through the war [in Paris, during 1940 – 1945 Van Velde had a long and painful break, with only a few paintings he finished]. A true loyal mind without hypocrisy. The most universal spirit. The greatest Frenchman. I have always been much less interested in painters”

Bram van Velde (1895–1981) Dutch painter

than Baudelaire - a great surprise to hear for Charles Juliet the interviewer
14 September 1967; p. 66
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Pain , War , Universe

“I have such a passion for painting! I am continually working at form. In actual drawing and in my head, and during my sleep. Sometimes I think I shall go mad, this painful, sensual pleasures tires and torments me so much. Everything else vanishes, time and space, and I think of nothing but how to paint the head of the resurrected Christ... Or how shall I paint Minkchen [his wife Minna] now, with her knees drawn up and her head leaning on her hand against the yellow wall with her rose, or the sparkling light in the dazzling whiteness of the anti-aircraft shell-bursts in the leaden, sun drenched sky…”

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

letter to his first wife Minna, from the front, 11 May, 1915; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 213
1900s - 1920s

Pain , Pleasure , Thinking , Sleep

“You know to make his rigid, tedious, boring paintings seem at least a little human, the Mondrian enthusiasts keep insisting that Mondrian was a great tango dancer.”

Peter Greenaway (1942) British film director

Philip
8 1/2 Women

“My intention is to make in Drenthe so much progress in painting that when I come back I may be qualified for the 'Society of Draughtsmen' [a group of London illustrators]. This stands again in connection with the second plan of going to England”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

to become an illustrator
Quote in his letter to brother Theo, from The Hague, The Netherlands, Summer 1883; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 319) p. 21
1880s, 1883

“Well, I have a very simple method of painting. It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method. It's very simple... Yes, linseed oil. I used to use poppy oil, but I have heard that poppy oil is given to cracking pigment too, so I use it no longer... I find linseed oil and white lead the most satisfactory mediums.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1941 - 1967
Source: 'Oral history interview with Edward Hopper' (1959, June 17), conducted by John Morse; 'Archives of American Art', Smithsonian Institution

Business , Help

“The man who goes by the stage name Pricasso whips out his member. He dips it in paint and produces an extraordinary resemblance of his bemused subjects.”

Pricasso (1949) Australian painter

[Jani Meyer, Pricasso's creative party trick, Sunday Tribune, South Africa, 10 February 2008, 3, Independent Online]
About

“.. it [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of painting that is realistic in the highest sense is beginning to appear, and it is here today... The advertising billboard, dictated by modern commercial needs, that brutally cuts across a landscape.... this yellow or red poster shouting in a timid landscape, is the best of possible reasons for the new painting; it topples the whole sentimental literary concept and announces the advent of plastic contrast.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Art , Sense , Appearance

“Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world... The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 38-39

Life , World , Art , Way

“Vainly the fowler's eye
Might mark thy distant flight to do thee wrong,
As, darkly painted on the crimson sky,
Thy figure floats along.”

William Cullen Bryant (1794–1878) American romantic poet and journalist

To a Waterfowl http://www.gutenberg.org/files/16341/16341-h/16341-h.htm#page20, st. 2 (1815)

Distant

“I would have failed, of course, but failure is the condition of the artist's life. What kind of failure would I have enjoyed, suffered? I know it was not all waste. My hopeless daubings taught me to look at the world with a painter's eye, despite the poor connection between eye and hand. And the smells of turpentine and linseed oil and paint-soaked rags still make my blood tingle. But words were my calling, and called to me, and I let fall the brush.”

John Banville (1945) Irish writer

My other life: John Banville http://www.guardian.co.uk/books/2008/nov/30/my-other-life-john-banville?INTCMP=SRCH, The Observer (30 November 2008).

Life , World , Failure , Suffering

“I was sitting in the barn, drawing a dead bird which I had put on a box. Then the barn door opened and Kees entered [an old iron-merchant, already retired].... He came down next to me.... After a short silence he said: 'Are you painting? '.... it looks somewhat like that bird'. I said: 'To me that means a compliment Kees, because I am trying to draw that bird.' Stunned, he looked at me and asked, "Why are you doing that?" What could I answer? I said: Actually, I don't know myself'. Then he hoisted himself to his feet and said, I'll bring you the stuff next Monday' and he went to the door..”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: ** Ik zat in de schuur en tekende een dode vogel, die ik op een kistje had neergelegd. Toen ging de schuurdeur open en kwam Kees binnen [een oud ijzerkoopman, al met pensioen].. ..Hij ging op zijn hurken naast me zitten.. ..Toen zei hij, na een korte stilte: 'Ben je aan het schilderen?'.. .. 'Het lijkt wel wat op die vogel'. Ik zei: 'Dat is voor mij een compliment, Kees, want die vogel probeer ik na te tekenen.' Stomverbaasd keek hij me aan en vroeg: 'Waarom doe je dat?' Wat moest ik daar nu op antwoorden? Ik zei: 'Ja, dat weet ik eigenlijk zelf ook niet'. Toen hees hij zichzelf overeind en zei 'Ik breng de rommel maandag wel bij je.' Hij liep naar de deur..
Source: Jopie de Verteller' (2010) - postumous, p. 27

Bird , Silence , Drawing , Dead

“I heard the comments of the crowd in front of the painting of 'Burial at Ornans', I had the courage to read the nonsense that was printed regarding this picture and I wrote this article.. [in Le Messager de l'Assemblée]”

Gustave Courbet (1819–1877) French painter

Quote from an article in 'Le Messager de l'Assemblée' (25th & 26th February 1851); as cited in 'Posterity', Musée-dOrsay http://www.musee-orsay.fr/en/collections/courbet-dossier/biography.html
1840s - 1850s

Courage , Reading

“But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you’ve got him, he’s always moved along. That’s what I aspire to do.”

Per Kirkeby (1938–2018) Danish artist

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

Thinking

“All men have talents. Some build, some paint, some write, some fight. For me it is different.”

David Gemmell book Legend

Source: Drenai series, Legend, Pt 1: Against the Horde, Ch. 17

Men , Fight

“O woman! lovely woman! Nature made thee
To temper man: we had been brutes without you.
Angels are painted fair, to look like you:
There ’s in you all that we believe of heaven,—
Amazing brightness, purity, and truth,
Eternal joy, and everlasting love.”

Thomas Otway Venice Preserv'd

Venice Preserv'd (1682), Act i. Sc. 1.

Love , Truth , Angels , Nature

“Architecture, sculpture, painting, music, and poetry, may truly be called the efflorescence of civilised life.”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

Education: What Knowledge Is of Most Worth?
Essays on Education (1861)

Life , Music

“Paint. Just paint. This is my advice. And leave the clever talk to the poor sods who can't.”

John Fowles book The Ebony Tower

The Ebony Tower (1974)

“.. [ I ] painted the very people who had been present at the interment, all the townspeople.”

Gustave Courbet (1819–1877) French painter

from Courbet on Wikipedia
Courbet pictured with his painting 'A Burial at Ornans' (1849/50) the funeral of his grand uncle which he attended in September 1848. People who attended the funeral became the models for the painting; no professional models
1840s - 1850s

People

“By using a white paint applied to the canvas I make a napkin. But I am sure the white shape is something conceived before knowing what it was to become. This means that a certain transformation has taken place... In a painting, what counts is the unexpected.”

Georges Braque (1882–1963) French painter and sculptor

Quote by Braque, from 'Le Monologue du Peintre', George Charbonnier, Paris 1959
1946 - 1963

“I certainly believe that the simple landscape which seems less impressive is the nature that is most proper to paint. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik geloof beslist dat de natuur die het meest geschikt is om na te schilderen, het eenvoudige landschap is dat weinig indrukwekkend lijkt.
as cited in Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850, Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, p. 16 – note 2
undated quotes

Nature

“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.”

James McNeill Whistler (1834–1903) American-born, British-based artist

In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

Flowers , Tree , Indifference

“I allow myself to be guided by the work which is in the process of being born, I have confidence in it [Arp refers to 'automatic creation of art']. I do not think about it. The forms arrive pleasant, or strange, hostile, inexplicable, mute, or drowsy. They are born from themselves. It seems to me as if all I do is move my hands.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 307

Hostility , Confidence , Thinking

“Actually, it was in Paris in 1914 that I did my first collages, for an occultist friend. They were mysterious portico's which were supposed to replace mural paintings and which evoked the structure of palm branches or fish-bones. [remark on the first collages Arp made, in different materials]”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 430

Fish

“Painting is an aid to vision. It turns life, the complexity of life, into something visible. It reveals things that we don’t know how to see.”

Bram van Velde (1895–1981) Dutch painter

2 April 1967; p. 62
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Life

“He has painted portraits of some of the world's most famous people - from US President George Bush to the Queen of England - and at the Joburg 2007 Sexpo, he was a huge hit.”

Pricasso (1949) Australian painter

[Lee Rondganger, Artist with unusual technique a Sexpo hit, The Star, South Africa, 28 September 2007, 2, Independent Online]
About

People , World

“I can not evolve any concrete theory about painting. What happens on the canvas is unpredictable and surprising to me.”

William Baziotes (1912–1963) American painter

Source: Posthumous quotes, Abstract Expressionist Painting in America, (1983), p. 135 : original source: 'Willem de Kooning', in 'Moma Bulletin' pp. 6,7

“I painted [circa 1960-62] through the whole history of art toward abstraction. I painted like crazy [and] I had some success with all that, or gained some respect. But than I felt it wasn't it, and so I burned the crap in some sort of action in the courtyard. And then I began. It was wonderful to make something and then destroy it. It was doing something and I felt very free.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 42, note 34

Art , History , Success

“The growing drama has outgrown such toys
Of simulated stature, face, and speech:
It also peradventure may outgrow
The simulation of the painted scene,
Boards, actors, prompters, gaslight, and costume,
And take for a worthier stage the soul itself,
Its shifting fancies and celestial lights,
With all its grand orchestral silences
To keep the pauses of its rhythmic sounds.”

Elizabeth Barrett Browning (1806–1861) English poet, author

Book V.
Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)

Soul , Light , Silence

“Painting is a thundering conflict of different worlds, which in and out of the battle with one another are intended to create the new world, which is called the world of art. Each work arises technically in a way similar to that in which the cosmos arose – through catastrophes, which from the chaotic roaring of the instruments finally create a symphony, the music of the spheres. The creation of the work is the creation of worlds.”

Wassily Kandinsky (1866–1944) Russian painter

Source: 1916 -1920, Autobiography', 1918, p. 34

World , Art , Music , Way

“What matters is not what you paint but what your hand dances. The painting is only a notation of the dance of the hand, of the gesture of love.”

John Diamond (doctor) (1934) Australian doctor

Source: Stillpoints: An Introductory Guide to Haiku Painting (2008), p. 20

Love , Dance

“That's one thing that's always, like, been a difference between, like, the performing arts, and being a painter, you know. A painter does a painting, and he paints it, and that's it, you know. He has the joy of creating it, it hangs on a wall, and somebody buys it, and maybe somebody buys it again, or maybe nobody buys it and it sits up in a loft somewhere until he dies. But he never, you know, nobody ever, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!”

Joni Mitchell (1943) Canadian musician

You know? He painted it and that was it.
Miles of Aisles (1974)

Art , Joy , Night

“.. my favorite artist, when I first began to paint, was actually Cézanne. Later, between 1920 – 1930, I developed a great interest in Chardin [famous for his still-life], w:Vermeer and Corot, too.... that's why you have been able to detect in my works of between 1912 – 1916 some recognizable influences of the early Paris cubists and above all, of Cézanne.”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 106

Life

“I looked at the high walls where once-white paint had grayed and then peeled. Barbara had always said the house had good bones, and she was right about that; but it had no heart, not with us living inside it. In place of laughter, trust, and joy, there was a hollow emptiness, a kind of rot, and I marveled at my blindness. Was it the alcohol, I wondered, that had made it bearable? Or was it something else, some inner failing? Maybe it was neither. They say that if you drop a frog into boiling water, he'll hop right out. But put the same frog into cold water and slowly turn up the heat, and he'll sit quietly until his blood begins to boil. He'll let himself be cooked alive. Maybe that's how it was for me. Maybe I was like that frog.”

John Hart (1965) American author with multiple books and awards

Source: The King of Lies (2006), Ch. 31.

Alcohol , Laughter , Water , Heart

“I saw the passers-by on the avenue clearly and simply, in the way they are in Japanese prints [she saw some earlier, together with Mary Casatt in the 'Ecole des Beaux Arts', Paris]. I was thrilled, I knew definitely why I had been painting badly and why I would never paint that way again. I mean to say, I am fifty years old and once a year at least I have the same joy and the same hope.”

Berthe Morisot (1841–1895) painter from France

Quote of Berthe Morisot, Jan. 1891; in 'Carnet Noir'; as cited in Berthe Morisot by Monique Angoulvent, Morance, Paris, 1933, p. 97
1881 - 1895

Hope , Art , Way , Joy

“For 338 paragraphs the Franks report painted a splendid picture, delineated the light and the shade, and the glowing colours in it, and when Franks got to paragraph 339 he got fed up with the canvas he was painting and chucked a bucket of whitewash over it.”

James Callaghan (1912–2005) Prime Minister of the United Kingdom; 1976-1979

Speech http://hansard.millbanksystems.com/commons/1983/jan/26/falkland-islands-franks-report in the House of Commons (26 January 1983) responding to the Franks Inquiry into intelligence before the Falklands War.
Post-Prime Ministerial

Light

“.. a revolt against an established order in painting, a revolt against an established order in society, a same spirit of provocation..”

Maurice de Vlaminck (1876–1958) French painter

Quote of De Vlaminck before 1915; as cited in Derain et Vlaminck: 1900-1915, by Jacqueline Munck and Maïthé Vallès-Bled; catalogue of Lodeve Museum, 2001, p. 23 - ISBN 10: 8820214903 / ISBN 13: 9788820214906
Quotes dated

“You turned white, like a saintBut I'm tired of dancing on a pot of gold……Flecked paint.”

Elliott Smith (1969–2003) American singer-songwriter

The Biggest Lie.
Lyrics, Elliott Smith (1995)

Dance

“We're all so clogged with dead ideas
passed from generation to generation
that even the best of us don't know the way out
We invented the Revolution
but we don't know how to run it
Look everyone wants to keep something from the past
a souvenir of the old regime
This man decides to keep a painting
This one keeps his mistress
He [pointing] keeps his garden
He [pointing] keeps his estate
He keeps his country house
He keeps his factories
This man couldn't part with his shipyards
This one kept his army
and that one keeps his king”

Peter Weiss Marat/Sade

Marat, act 1, scene 15 (p. 34)
Marat/Sade (1963)

Way , Idea , Past , Parting

“For nature then
(The coarser pleasures of my boyish days,
And their glad animal movements all gone by)
To me was all in all.—I cannot paint
What then I was.”

William Wordsworth book Lyrical Ballads

Stanza 3.
Lyrical Ballads (1798–1800), Lines written a few miles above Tintern Abbey (1798)

Pleasure , Nature , Animals

“Entitled people who blame others for their own emotions and actions do so because they believe that if they constantly paint themselves as victims, eventually someone will come along and save them, and they will receive the love they’ve always wanted.”

Mark Manson (1984) American writer and blogger

Source: The Subtle Art of Not Giving a F*ck (2016), Chapter 8, “The Importance of Saying No” (p. 178)

Love , People

“Donald Judd spoke of a 'neutral' surface, but what is meant? Neutrality must involve some relationship (to other ways of painting, thinking?) He would have to include these in his work to establish the neutrality of that surface. He also used 'non' or 'not' – expressive – this is an early problem – a negative solution or – expression of new sense – which can help one into – what one has not known. 'Neutral' expresses an intention.”

Jasper Johns (1930) American artist

Book A (sketchbook), p 31, c 1963: as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 50
1960s

Way , Problem , Thinking , Sense

“My purpose is, by Gods assistance, to set forth the Art of painting, as in old times it hath begun, as it was promoted, as it came to that wonderfull perfection mentioned in ancient Authors. The first booke toucheth the first beginnings of Picture. The second booke propoundeth diverse meanes tending to the advancement of this Art. The third booke speaketh of the maine grounds of Art, the which being well observed by the old Artificers, made them come neerer to the height of perfection.”

Franciscus Junius (the younger)

[The painting of the ancients, in three bookes, London, Printed by R. Hodgkinsonne, 1638, 1–2, https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t7hq5gq92;view=1up;seq=13]

God , Books , Art , Time

“.. I went to live in my studio on the first of May [? ]... I have not had a hot dinner more than perhaps six or seven times since. I have lived then and I do so here, not having money for dinner, because the work costs me too much and I have trusted too much on my being strong enough to hold out. Now I have made it worse by smoking a great deal, which I do the more because then one does not feel an empty stomach so much... My opinion is that one must not think that the people whose health is damaged, quite or partly, are no good for painting... It fell so unexpectedly on me, I had been feeling weak and feverish, but I went on notwithstanding, but I began to feel worried when more and more teeth broke off, and I began to look more and more ill.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo from Antwerp, Belgium, Febr. 1886; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 449), p 24
1880s, 1886

Money , People , Health , Feeling

“Not only have we radically abandoned the motive fully developed according to its determined and, therefore, artificial equilibrium, but we suddenly and purposely intersect each motif with one or more other motifs of which we never give the full development but merely the initial, central, of final notes... We thus arrived at what we call the painting of states of mind.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Source: 1912, Les exposants au public', 1912, p. 8.

Motivation

“I liked the room [his new place in London, c. 1906] the moment I saw it, so here I am set up as a swell... Don't you take this to be a trap set up for the unwary, you know you're always touching a sore spot when you talk painting, and drag my suicides before the public, the right name for potboilers, one has to give up all aim for any good intention, and do the technical skill and cleverness to please those with halfpennies and farthings in their pocket, to be favoured to live... I just got a letter from somebody, saying: but with potboiling one can make money, money always considered to be the principal. I told him he was greatly mistaken, when a little honesty remains, one can scarcely ask anything for them.”

Matthijs Maris (1839–1917) Dutch painter

in a letter to David Croal Thomson (1907), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxv

Money , Suicide

“On the question of the "origin of species" Mr. Haughton enlarges considerably; but his chief arguments are reduced to the setting-up of "three unwarrantable assumptions," which he imputes to the Lamarckians and Darwinians, and then, to use his own words, "brings to the ground like a child's house of cards." The first of these is "the indefinite variation of species continuously in the one direction." Now this is certainly never assumed by Mr. Darwin, whose argument is mainly grounded on the fact that variations occur in every direction. This is so obvious that it hardly needs insisting on. In every large family there is almost always one child taller, one darker, one thinner than the rest; one will have a larger nose, another a larger eye: they vary morally as well; some are more poetical, others more morose; one has a genius for numbers, another for painting. It is the same in animals: the puppies, or kittens, or rabbits of one litter differ in many ways from each other - in colour, in size, in disposition; so that, though they do not "vary continuously in one direction," they do vary continuously in many directions; and thus there is always material for natural selection to act upon in some direction that may be advantageous. […] I will only, in conclusion, quote from it a short paragraph which contains an important truth, but which may very fairly be applied in other quarters than those for which the author intended it: - "No progress in natural science is possible as long as men will take their rude guesses at truth for facts, and substitute the fancies of their imagination for the sober rules of reasoning."”

Alfred Russel Wallace (1823–1913) British naturalist, explorer, geographer, anthropologist and biologist

"Remarks on the Rev. S. Haughton's Paper on the Bee's Cell, And on the Origin of Species" (1863).

Men , Truth , Family , Way

“Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
1930's

Art , Reality

“At first I intended to carry on working in Saint-Prex [in Switzerland, circa 1914 – 1915] in the same way I had been working in Munich [the location of his Blaue Reiter / Blue Rider period]. But something inside me prevented me from painting colourful, sensuous pictures. Suffering had changed my soul, telling me to find other forms and colours to express what was on my mind.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Köpfe, Gesichte, Meditationen', Clemens Weiler
Source: 1936 - 1941, Life Memories' (1938), p. 149

Way , Soul , Suffering , Change

“Towards the end of his life, Schumpeter re-painted his picture of capitalist development on an even broader canvas. In Capitalism, Socialism and Democracy (Schumpeter 1950), he offered a complex, multifaceted argument that the type of capitalism he had earlier described might be passing from the historical scene, morphing by small degrees into some variety of socialism.”

Sidney G. Winter (1935) American economist

Dynamic Capability as a Source of Change, 2008

Life , Democracy

“[to see the painting].. as an object, as a real thing in itself. (quote on his Flag-paintings)”

Jasper Johns (1930) American artist

Quote from: Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 200
1950s

Quotes

“I exhibited three paintings at the Salon d'Automne exhibition [Paris], which is the most interesting exhibition I have seen until now. Much more interesting than the Secession [in München]. My paintings [two words cancelled] were noticed and praised by the art critics. I think I will be very famous here in a few years time. Reading my name in the newspapers and seeing people notice my paintings and write about them has given me new and strange joy. – Paris is a beautiful city. Why do you remain in the monotony of Munich's heavy atmosphere? Here one can find everything one desires. Everything is refined and has spirit and everyday one learns something new.. The French are more intelligent than I thought. They laugh a lot, but they understand better than the Germans what is refined, strange and outside the ordinary.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's letter to Mr. Fritz Gartz, Paris, 8 Oct. 1912; from LETTERS BY GIORGIO DE CHIRICO TO FRITZ GARTZ, PARIS, 1912-1914 http://www.fondazionedechirico.org/wp-content/uploads/576-579Metafisica7_8.pdf, p. 576
1908 - 1920

People , Beauty , Art , Intelligence

“I would need a loan to paint Caligula.”

Francesco Filippini (1853–1895) Italian impressionist painter

Mi gh’averia bisogn de lé… per fa el Caligola
Trattoria della Coppa, Ponte Vetere di Milano, 1880
Francesco Filippini, Francesco Filippini il dossier di uno splendido pittore https://www.stilearte.it/francesco-filippini-il-dossier-uno-splendido-pittore-morto-a-42-anni-di-tisi/, Stilarte.it, November 4, 2015.

“Pricasso had a long line of people waiting to pay him to paint with his penis. The former builder said he had always been talented at drawing but five years ago came up with the idea of creating art with a different type of implement.”

Pricasso (1949) Australian painter

[Ellen Lutton, Sexpo draws crowds... and then they're painted, The Sun-Herald, Sydney, Australia, 7 March 2010, 25, Fairfax Media Publications Pty Limited.]
About

People , Art , Idea , Waiting

“When Picasso does pure painting he is a great artist. When he paints as an cubist, putting one tone next to another, the arrangement of planes is fine and the result very strong. But those who imitate him achieve nothing worthwhile.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 407

Strong

“I believe that the great painters with their intellect as master have attempted to force this unwilling medium of paint and canvas into a record of their emotions. I find any digression from this large aim leads me to boredom.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1911 - 1940, Notes on Painting - Edward Hopper (1933)

“Idiots can do what I do. When I first started to do this [projecting photos on the canvas and painting them after having them traced in details with a piece of charcoal] in the 60's, people laughed. I clearly showed that I painted from photographs. It seemed so juvenile. The provocation was purely formal - that I was making paintings like photographs. Nobody asked about what was in the pictures. Nobody asked who my Aunt Marianne was. That didn't seem to be the point.”

Gerhard Richter (1932) German visual artist, born 1932

Richter's aunt had been murdered by the Nazis in the name of euthanasia, a crime for which his father-in-law from his first marriage, a Nazi doctor named Heinrich Eufinger, had been partially responsible. Richter painted a portrait of his aunt in 1965, based on an old photo. It was called 'Tante Marianne' / 9Aunt Marianne).
after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

People , Photo

“Well, you must now imagine my friend at my age or almost there. You must picture him growing gray, tired of life and convinced that he had at last discovered the secret of peace. At this time he met, while visiting some relatives in a country house, a mere girl of twenty, who was the image, the haunting image of her whom he had hoped to marry thirty years before. It was one of those strange resemblances which extend from the color of the eyes to the 'timbre' of the voice, from the smile to the thought, from the gestures to the finest feelings of the heart. I could not, in a few disjointed phrases describe to you the strange emotions of my friend. It would take pages and pages to make you understand the tenderness, both present and at the same time retrospective, for the dead through the living; the hypnotic condition of the soul which does not know where dreams and memories end and present feeling begins; the daily commingling of the most unreal thing in the world, the phantom of a lost love, with the freshest, the most actual, the most irresistibly naïve and spontaneous thing in it, a young girl. She comes, she goes, she laughs, she sings, you go about with her in the intimacy of country life, and at her side walks one long dead. After two weeks of almost careless abandon to the dangerous delights of this inward agitation imagine my friend entering by chance one morning one of the less frequented rooms of the house, a gallery, where, among other pictures, hung a portrait of himself, painted when he was twenty-five. He approaches the portrait abstractedly. There had been a fire in the room, so that a slight moisture dimmed the glass which protected the pastel, and on this glass, because of this moisture, he sees distinctly the trace of two lips which had been placed upon the eyes of the portrait, two small delicate lips, the sight of which makes his heart beat. He leaves the gallery, questions a servant, who tells him that no one but the young woman he has in mind has been in the room that morning.”

Paul Bourget (1852–1935) French writer

Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

Love , Life , Secret , Age

“I would say that it was 'poetry' which distinguishes the cubist paintings which Picasso and I arrived at intuitively from the lifeless sort of painting which those who followed us tried, with such unfortunate results, to arrive at theoretically.”

Georges Braque (1882–1963) French painter and sculptor

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

“It was in mid-summer [1906]. The colors of the flowers attracted me irresistibly and almost sudden I was painting. My first small gardens paintings were born.”

Emil Nolde (1867–1956) German artist

Quote of Nolde, 1906 in Jahre der Kämpfe (The years of struggles); as cited by Francesco Mazzaferro in 'The Diaries of Paul Klee' - Part Three: Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1900 - 1920

Color , Flowers , Summer

“A man with taste is the same as a woman with taste. Man invents his home, woman - her dress. Being an artist means having an individual, distinct from all other people's perception and concept of every single thing. Being an artist does not mean possessing a faculty of combining lines and paints, being artful in this or that sort of art, but having a world inside oneself and individual forms to express it.”

Marianne von Werefkin (1860–1938) expressionist painter

1895 - 1905
Source: Lettres à un Inconnu, (Notebook II, p. 8) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska. Klincksieck, 1999. p. 106

People , World , Art , Home

“People will keep on taking them for theorists, when all they wanted was to paint in gay, bright colours, like the old masters.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 64 : Renoir's remark to Vollard referring to the Impressionist artists's Monet, Sisley and Pissarro.

People

“Paint studies of parts, for instance a piece of land, a group of trees or things like that, but always in a way that people can understand these things in relation with the whole landscape, by adding behind that group of trees the air in a right tone color and thereby in connection with the trees... Furthermore studies of a whole, preferably very simple subjects - A meadow with horizon and a piece of air to examine further the general tone color, the harmony of the whole.... and study nature even more by thinking about it than working after it.”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Schilder studies van gedeelten, bv. een stuk grond, een boomgroep of dergelijke maar toch altijd zóó dat men die in verband met het geheele landschap begrijpen kan, door achter die boomgroep de lucht juist van toon en daardoor in verband met de boomen er bij te schilderen.. .Verder studies van een geheel, liefst zeer eenvoudige sujetten - Eene weide met horizon en stuk lucht. Om nog meer de algemeene toon, de harmonie van het geheel na te gaan.. ..en bestudeer de natuur nog meer met er over te denken dan met er na [naar!?] te werken.
Quote from a letter of Roelofs to his pupil Hendrik W. Mesdag, 27 May 1866; as cited by De Bodt, in Halverwege Parijs, Willem Roelofs en de Nederlandse Schilderskolonie in Brussel, Gent, 1995a, p. 238
1860's

People , Color , Way , Understanding

“When will my soul forget the look
With which one single stem she took
From out the wreath?—a tulip flower;
But, touch'd as by some withering power,
The painted leaves were drooping round
The rich but burning heart they bound.”

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

The Golden Violet - The Wreath
The Golden Violet (1827)

Soul , Flowers , Heart , Forgetting

“I began to draw from plant life and found the flat leaf forms were easier to do than thighs and breasts. I wanted to flatten. The plant drawings from that time until now have always been linear. They are exact observations of the form of the leaf or flower of fruit seen. Nothing is changed or added, no surface marking. They are not an approximation of the thing seen nor are they a personal expression or an abstraction. They are an impersonal observation of the form. When I applied the procedure to other things such as the vaulting of Notre Dame [church in Paris] or a patch of tar on the road, the subject of the drawings and the subsequent paintings were not recognizable even though they were exact copies of the thing seen. I wanted to use things that had no pictorial use.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 25-26 : 'Notes from 1969'

Life , Flowers , Change , Time

“I chose to paint because the medium as such has a particular meaning. It is almost synonymous with what is popularly viewed as Art - art with a capital A-with all the glory, the piety, and the authority that it commands.”

Hans Haacke (1936) conceptual political artist

1980s
Source: Bois,Yve-Alain, Douglas Crimp, and Rosalind Krauss. " A Conversation with Hans Haacke http://www.kim-cohen.com/artmusictheoryassets/artmusictheorytexts/Haacke_Interview.PDF." in: October : The First Decade 30 (fall 1984): 23-48

Art

“The technical obstacles of painting perhaps dictate this form. It derives also from the limitations of personality, and such may be the simplifications that I have attempted.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1911 - 1940, Notes on Painting - Edward Hopper (1933)

Personality

“It is difficult to hold the world's interest for more than half an hour at a time... I have been successful for twenty years, to the extent that papers publish the most incomprehensible new items of our time, sent by teletype: PARIS. Dali gave lecture at Sorbonne on Vermeer's paintings 'lacemaker' and the rhinoceros.... NEW YORK. Dali landed in New York dressed in a golden space-suit.”

Salvador Dalí (1904–1989) Spanish artist

Source: Quotes of Salvador Dali, 1961 - 1970, Diary of a Genius (1964), p. 171

World , Time , Success

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd (1928–1994) artist

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

School , Art , Light , Time

“As for a few others, the vital task was a wedding of abstraction and surrealism. Out of these opposites something new could emerge, and Gorky’s work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art... These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think Gorky evolved his style.”

Adolph Gottlieb (1903–1974) American artist

Arshile Gorky Adolph Gottlieb in exhibition catalogue Kootz Gallery New York, 1950; as quoted in Abstract Painting in America, W.C, Seitz p. 104.
1950s

Sadness , Art , Thinking , Sense

“The Croatian parliament elected me to be the Croatian member of the Presidency of Yugoslavia. I went to Belgrade, where first, for several months, I was not allowed to take up my duties because the Federal Assembly was unable to meet. After that, the Serbian bloc boycotted my election as president under… Finally, under pressure from the international community, I was elected president. Croatia adopted a decision on its independence. Croatia, in agreement with the international community, postponed its secession from Yugoslavia by three months. This time period had elapsed. Yugoslavia no longer existed. The federal institutions were no longer functioning. I returned to Zagreb, and that's precisely what I said. Because I [had not gone] to Belgrade to open up a house-painting business. I went there as a member of the Presidency of Yugoslavia. Since Yugoslavia no longer existed and the Presidency no longer existed, I had performed the tasks entrusted to me by the Croatian parliament and was reporting back, ready to take up a different office. What was I to do in Belgrade when the Presidency no longer existed?… The accused is a lawyer. He understands very well what I'm talking about. My 'task' was to represent Croatia in the Federal Presidency.”

Stjepan Mesić (1934) Former Croatian and Yugoslav president

ICTY Transcript, Page 10636 - Mesić's cross-examination by Slobodan Milošević at the ICTY on 2 October 2002, 8 April 2012 http://www.icty.org/x/cases/slobodan_milosevic/trans/en/021002IT.htm, Responding to an earlier quote in which he stated My task has come to an end. There is no more Yugoslavia. ("Moj posao je završen - Jugoslavije više nema") 5 December 1991 in the Croatian parliament having left the presidency of the Yugoslav presidency.

Communication , Understanding , Business , Decision

“Through painting I try to get closer to nothingness, to the void.”

Bram van Velde (1895–1981) Dutch painter

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

“[I] preferred paintings full of daring to the nullities welcomed into every Salon.”

Charles-François Daubigny (1817–1878) French painter

Quote c. 1865; as cited in Corot', Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 272 – quote 65
Daubigny's work was frequently refused by the jury of the Salon; after c. 1865 he participated in the jury himself, often together with Corot.
1860s - 1870s

Quotes about painting page 14

Quotes about painting
page 14