Quotes about painting (2699 quotes, page 19)

“Yes. I came to Washington to lobby Senators and Congressmen to co-sponsor in support of the PAST Act and I'm hoping by making this public people will join me to help me get this bill passed. Links are available for them to contact their Congressman saying they support the PAST Act. That's all they have to do. You would think this is a no-brainer, that this would pass but there IS opposition. The law was passed in 1970 to stop soring but Horse Industry (HIOs) found loopholes and continued soring. USDA is charged with enforcement of the Horse Protection Act, but as the result of a 1976 amendment to the act, the USDA has for decades certified the horse industry organization to conduct the majority of inspections at horse shows. This self regulation scheme has failed miserably and has to be abolished. USDA inspectors are threatened by exhibitors at horse shows and must be frequently accompanied by security. If they had nothing to hide (like covering the scarred legs with paint or taking off other paraphernalia when USDA inspectors are around) why aren't they welcomed? That's why being their own inspectors is not working.”

Priscilla Presley (1945) actress and businesswoman from the United States and former wife of Elvis Presley

Priscilla Presley On The Cause She's So Passionate About And The First Time Elvis Took Her Breath Away http://www.huffingtonpost.com/pat-gallagher/priscilla-presley_b_4933783.html, 12 March, 2014.

People , Law , Hope , Support

“The Hindu feels it his duty to dislike those whom he has been taught to consider the enemy of his religion and his ancestors; the Mussalman, lured into the false belief that he was once a member of a ruling race, feels insufferably wronged by being relegated to the status of a minority community. Fools both! Even if the Muslims eight centuries ago were as bad as they were painted, would there be any sense in holding the present generation responsible for their deeds. It is but an imaginative tie that joins the modern Hindu with Harshavardhana or Asoka, or the modern Mussalman with Shihabuddin or Mahmud.”

Mohammad Habib (1895–1971) Indian historian

Mohammad Habib in Politics and society during the early medieval period: collected works of Professor Mohammad Habib, Volume 1 (1974); p. 12
Quoted in Identity and Religion: Foundations of Anti-Islamism in India by Amalendu Misra; published by SAGE Publications, p. 210 https://books.google.com/books?id=MKlEXIVxwj4C&pg=PA2010

Religion , Fools , Feeling , Imagination

“However, new plasticism is pure painting [in contrast with the opinion of Theo van Doesburg, then]: the means of expression still are form and color, though these are completely interiorized; the straight line and flat color remain purely pictorial means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Color

“My dear Theo, Sincere wishes for your good health and serenity on your birthday. I would like to have sent you the painting of the potato eaters for this day, but although it's coming along well, it's not quite finished yet. Although I'll have painted the actual painting in a relatively short time, and largely from memory, it's taken a whole winter of painting studies of heads and hands. And as for the few days in which I've painted it now - it's consequently been a formidable fight, but one for which I have great enthusiasm. Although at times I feared that it wouldn't come off. But painting is also 'act and create.”

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

Quote in his letter to Theo, from Amsterdam, 30 April 1885, letter 497 - vangoghletters online http://vangoghletters.org/vg/letters/let497/letter.html
Vincent refers to his famous painting 'Potato Eaters' https://upload.wikimedia.org/wikipedia/commons/1/12/Vincent_van_Gogh_-_The_potato_eaters_-_Google_Art_Project.jpg
1880s, 1885

Health , Fear , Birthday , Study

“Bill [=Willem de Kooning ] was working on a huge canvas. It was black and white. And I said to him, 'It's very curious.' You know, I came into the studio. I had my separate studio and I walked in and I said, 'It's very curious. There are no treelike shapes in that painting. The forms are all like animals more or less and organic shapes that don't resemble the forest at all, but I get the feeling of Faulkner forest from that painting.' Bill said, 'That's extraordinary.' And he went over and lifted up a pile of papers and underneath was a book by Faulkner and later he named a painting 'Light in August”

Elaine de Kooning (1918–1989) American painter

he painted in 1946
1972 - 1989
Source: an tape-recorded interview with Elaine de Kooning on August 27, 1981 http://www.aaa.si.edu/collections/interviews/oral-history-interview-elaine-de-kooning-11999; conducted by Phyllis Tuchman, for the Archives of American Art, Smithsonian Institution: Oral Histories.

Books , Feeling , Light , Animals

“[In the past] women painted women: w:Louise Élisabeth Vigée Le Brun, [[w:Mary Cassatt|Mary Cassatt], and so forth... And I thought, men always painted the opposite sex, and I wanted to paint men as sex objects.”

Elaine de Kooning (1918–1989) American painter

In the exhibition's catalog book 'Elaine de Kooning Portraits' - Brandon Fortune quotes Elaine de Kooning, telling scholar Ann Gibson in 1987; - - read more http://newmexicomercury.com/blog/comments/elaine_de_kooning_paints_a_portrait#sthash.LLVWii3U.dpuf
1972 - 1989

Women , Men , Sex , Past

“The Cubists want to cover Dada with snow; that may surprise you, but it is so, they want to empty the snow from their pipe to bury DaDa.
Are you sure?
Positively sure, the facts are revealed by grotesque mouths. They think that Dada can prevent them from practicing this odious trade: Selling art expensively.
Art costs more than sausages, more than women, more than everything.
Art is visible like God (see Saint-Sulpice).
Art is a pharmaceutical product for imbeciles.
The table turns thanks to spirit; the paintings and other works of arts are like strong-box tables, the spirit is inside and becomes more and more
inspired according to the auction prices.
Farce, farce, farce, farce, farce, my dear friends.”

Francis Picabia (1879–1953) French painter and writer

In 'DADA manifesto 1920'; as quoted in Manifesto: A Century of Isms, ed. Mary Ann Caws, Lincoln: University of Nebraska Press, 2001, nr. 9.16 Francis Picabia, p 318
1920's

Women , God , Art , Thinking

“What seems most significant to me about our movement is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story.”

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

Quoted in: Charles Altieri (1989) Painterly Abstraction in Modernist American Poetry, p. 169: Talking about the movement of Impressionism.
undated quotes

Flowers

“If we paint the phases of a riot, the crowd bustling with uplifted fists and the noisy onslaughts of cavalry are translated upon the canvas in sheaves of lines corresponding with all the conflicting forces, following the general laws of violence of the picture... These force-lines must encircle and involve the spectator so that he will in a manner be forced to struggle himself with the persons in the picture.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

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

Law , Personality

“There was excitement for us all in the fact that I had a job in the mechanical field, so that my education would count…. Well, I am bound to admit the first sight of my opportunity was disappointing… Not far from a city dump on a weed-grown, marshy plain was an old weather-worn building, like an overgrown barn. In its indefinite yard there was a small mound of coal and a great mound of reddish-gray cinders and ashes; also a disorderly accumulation of discarded machinery… Once the factory had been painted brown. Only one word describes it: "dirty." Smoke from the dump carried an acric odor. Eventually across the wall nearest the railroad track there was lettered in black this legend: HYATT ROLLER BEARING COMPANY”

Alfred P. Sloan (1875–1966) American businessman

Source: Adventures of a White-Collar Man. 1941, p. 5 ; About his first job at the , where a year later Sloan would take control.

Education , Disappointment , Weather

“Painting.... turned to the design of purely abstract volumetric forms... Since the leading exponent of the color theory was a painter (Malevich), he failed to recognize the objective reality of the world [in architecture! ]. Because he always looked at it only through his own eyes, he remained trapped in a world devoid of real objects. The broader implications of this had to be developed by us, the architects.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

World , Color , Reality

“Producers like Organized Noize mix samples and live instruments really well, but for me, it almost feels like a cop-out, because I'm a collage artist. It's like, 'Damn, if only I could find this one part. Well, maybe if I just had somebody paint it, and then I'll put it out.' That almost feels like cheating. Lots of times, I have trouble finding bass lines, because it's not very often on a record that there are good open bass lines. Sometimes I wish I could just have somebody come in and do what I want him to do on a bass line. It would be so easy. But what I do just keeps things much more challenging, I guess.”

DJ Shadow (1972) American trip-hop musician

http://en.wikipedia.org/wiki/Sampling_%28music%29
On Sampling

Feeling , Time , Parting , Cheating

“He [ Johannes Warnardus Bilders ] painted – was living in Utrecht, [he] immediately attracted attention and had many ideas, got good prices for that time; and once he thought 'Is this really beautiful, as people say - but the people are crazy or I am - I came to the conclusion – the people are wrong - picked up my things and went to Oosterbeek' [Autumn of 1841, where he thoroughly started to study nature: branches, stems, plants. Etc.. ] (translation from Dutch, Fons Heijnsbroek).”

Marie Bilders-van Bosse (1837–1900) painter from the Netherlands

version in original Dutch (citaat uit een brief van MarieBilders-van Bosse, in het Nederlands:) Hij schilderde – woonde te Utrecht, [hij] trok aanstonds de aandacht en had veel ideeën, kreeg voor den tijd goede prijzen; en dacht op eenmaal 'Moet dat nu mooi heeten – maar de menschen zijn gek of ik – Ik kwam tot de conclusie – de menschen slaan de bal mis – pakte mijn rommeltje en ging naar ' [herfst van 1841, waar Bilders grondig studie van de natuur begint te maken: takken, stammen, planten. Etc..]
In a letter of Marie Bilders-van Bosse to A. C. Loffelt, c. 1891; as cited in Van Oosterbeek naar Haagsche School, E. Maas; kunsthandel Kupperman, Amsterdam, 1994, p. 57
Marie Bosse-Bilders was first a pupil of the older Bilders; later they married

People , Beauty , Idea , Autumn

“I can not draw or paint worth a damn, because I can't see it in my head before I do it. I can sculpt and I do crafts but I can not draw. When it comes to music I can hear it before it happens, which most people can't do.”

Blackie Lawless (1956) musician, songwriter and actor

Music America Interview

People , Music , Drawing

“Quote in Rembrandt's letter to Constantijn Huygens (Amsterdam, 12 January 1639) on 3 paintings commissioned (in 1635 and started by Rembrandt already in 1635/36) by the imperial court, as cited in Painters on Painting (1963) by Eric Protter, p. 78 / Dutch original text in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 161.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

version in original Dutch (origineel citaat van Rembrandt, in Nederlands): Door die grooten lust ende geneegenheijt die ick gepleecght hebbe int wel wtvoeren van die twe/ stuckens die sijn Hoocheijt mijn heeft doen maeken weesende het een daer dat doode lichaem Chrisstij/ in den graeve gelecht werd ende dat ander/ daer Chrisstus van den doode opstaet dat met/ grooten verschrickinge des wachters. Dees selvij/ twe stuckens sijn door stuijdiose vlijt nu meede/ afgedaen soodat ick nu oock geneegen ben om die/ selvijge te leeveren om sijn Hoocheijt daer meede/ te vermaeken want deesen twe sijnt daer die meeste/ ende die naetuereelste beweechgelickheijt . in/ geopserveert is dat oock de grooste oorsaeck is dat/ die selvijge soo lang onder handen sij geweest.
in margin: deessen 12 Januwarij 1639, Mijn heer ik woon op die binnenemster, thuijs is genaemt die suijckerbackerrij [in Amsterdam]. http://remdoc.huygens.knaw.nl/#/document/remdoc/e4458
What Rembrandt meant in his phrase "die meeste ende di naetuereelste beweechgelickheijt" has been the subject of dispute. Variant translations have been proposed:
For in these two paintings "the greatest and most innate emotion has been expressed", which is also the main reason why they have taken so long to execute (c. 3 years!).
The "deepest and most lifelike emotion has been expressed", and that's the reason they have taken so long to execute.
1630 - 1640

Books , Quotes

“The visual always fascinated me. As I grew up, I slowly realized that we not only see through our eyes, but also from the heart. Feeling is living. Beauty is understanding. I was overwhelmed by the harmony of creation. My youth was one rapturous communion with nature. The ecstasy is gone but fragments of its memory, still, at times, shimmer, to give a sudden insight. My paintings are such fragments. Yes, they are fragments because my life is so.”

V. P. Singh (1931–2008) Indian politician

Source: Sushmita Dutta Singh: The Renaissance Man (25 June 1931- 27 Nov 2008) http://zeenews.india.com/blog-print.aspx?nid=2136VP, Zeenews.com

Life , Youth , Beauty , Feeling

“I heard the voices of the trees; the surprises of their movements. Their varieties of form and even their peculiarity of attraction toward the light had suddenly revealed to me the language of the forest. All that world of flora lived as mutes, whose signs I divined, whose passions I discovered. I wished to converse with them and to be able to say to myself, through that other language, painting, that I had put my finger upon the secret of their grandeur.”

Théodore Rousseau (1812–1867) French painter (1812-1867)

quote from a talk between Th. Rousseau and Alfred Sensier, 1850's; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, p. 147
Alfred Sensier frequently visited the studio of Th. Rousseau (and Millet) and wrote later a book about both artists
1851 - 1867

Secret , World , Tree , Light

“In French there is an old expression, 'la patte', meaning the artist's touch, his personal style, his 'paw'. I wanted to get away from la patte and all that retinal painting.”

Marcel Duchamp (1887–1968) French painter and sculptor

posthumous

Personality

“I work a lot and I think a lot. I really want to try to paint on glass.. Please will you ask him [mr. architect Taut ] if there are any transparent colors, which one can use to paint on the glass directly... I want to dispose of a new technique in which the artist can paint on the glass directly instead of canvas. When one wants to reach colors spiritually-bright, then a time will come that oil-paint and canvas are no longer suitable... So, if you have time, please ask Mr. Taut if he understands my view and maybe he knows the ways how I can follow my direction.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:)Ich arbeite sehr viel und denke sehr viel. Ich möchte so gern versuchen, auf Glas zu mahlen. .. ..bitte fragen sie ihn dann [Herr Taut] ob es transparante Farbe gibt, womit man gleich auf Glas malen kann. .. ..ich möchte eine neue Technik haben, dass der Künstler so direkt das Glas verwenden kann statt Leinwand. Wenn man die Farben leuchtend geistlich haben will, dann wird es eine Zeit kommen, dass Oelfarben und Leinwand sich dafür nicht mehr eignen.. ..So wenn Sie Zeit haben, fragen Sie dann Herrn Taut ob er meine Idee versteht und vielieich den Weg kennt, den ik gehen müsse.
in a letter to Herwarth Walden, 11 Nov. 1914; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 19
It was not until April 1918 that Jacoba wrote Walden she had decided to submit a series of designs for stained glass windows for the upcoming 'Sturm' exhibition - in April 1919 she sent him ten stained-glass windows, 'Nrs. 12-26'
1910's

Color , Way , Understanding , Thinking

“You can see the pains I take to hide the attachment [of the muscles] at the clavicles and sternum, to soften the modeling of the ribs where it seems that the breasts just begin to swell; I try to go about it entirely differently from the usual way, which is above all to show what one knows. As this is not an anatomy lesson, I must bind together as seen in nature everything covering the armatures that make up and support the body, in order to put down only what I experience faced with these tissues of flesh that let one sens the blood beneath, while they reflect the light of the sky. In a word, I must bring to the painting of that breast the same artlessness I would employ in painting a bottle of milk.”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

Corot explains his making of the painting to his biographer Alfred Robaut, c. 1869; as quoted 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. 277
about his painting 'Landscape with Figures', also called 'La Toilette', Corot painted in 1859
1860s

Pain , Way , Support , Nature

“Of course I constantly despair at my own incapacity, at the impossibility of ever accomplishing anything, of painting a valid, true picture or even knowing what such a thing ought to look like. But then I always have the hope that, if I persevere, it might one day happen. And this hope is nurtured every time something appears, a scattered, partial, initial hint of something which reminds me of what I long for, or which conveys a hint of it – although often enough I have been fooled by a momentary glimpse that then vanishes, leaving behind only the usual thing.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1985; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6
1980's

Hope , Fools , Appearance , Time

“All this takes many clumsy and inexact word-descriptions to describe, but if we read paintings like we read books, it would not be such a hidden language for painting can effortlessly produce such elegant solutions.”

Peter Greenaway (1942) British film director

Fear of Drowning By Numbers

Books , Reading

“They [Richter always works on a number of his abstract paintings at the same time] feed off one another… At the beginning, I feel totally free, and it's fun, like being a child. The paintings can look good for a day or an hour. Over time, they change. In the end, you become like a chess player. It takes me longer than some people to recognize their quality, their situation - to realize when they are finished. Finally, one day I enter the room and say, 'Checkmate.' Then sometimes I need a break, a quiet job, like a landscape. But I always need to paint abstracts again. I need that pleasure.”

Gerhard Richter (1932) German visual artist, born 1932

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

People , Pleasure , Feeling , Change

“Wharton was captivated by her sweet face, and tried to make her understand his theory that the merit of a painting was not so much in what it explained as in what it suggested.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Referring to Catherine Brooke, Ch. III
Esther: A Novel (1884)

Understanding

“When I began to write as a very young person in a rigidly racist and inhibited colonial society, I felt, as many others did, that I existed marginally on the edge of the world of ideas, of imagination and beauty. These, taking shape in poetry and fiction, drama, painting and sculpture, were exclusive to that distant realm known as 'overseas.”

Nadine Gordimer (1923–2014) South african Nobel-winning writer

Speech at the Nobel Banquet (1991)

World , Beauty , Imagination , Idea

“I don't think that corporations are these big bogeymen that a lot of people paint them to be.”

Krist Novoselic (1965) Croatian-American rock musician

15:30–15:37
"Nirvana's Krist Novoselic on Punk, Politics, & Why He Dumped the Dems" https://www.youtube.com/watch?v=k4TPRH2uK9w

People , Thinking

“I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture.”

Per Kirkeby (1938–2018) Danish artist

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

Color , Feeling , Fashion , Nature

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

Helen Frankenthaler (1928–2011) American artist

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

Life , Art , Passion , Time

“I hope.... to paint some in a lighter gamut, more flesh and blood, but, at the same time, I am trying to get a still stronger soft soap and copper-like effect. In reality I daily see, in the gloomy huts, effects against the light or in the evening twilight.... which I compare to soft soap and brass color of a worn-out 10 centime piece.”

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

Quote in his letter to brother Theo, from Nuenen, The Netherlands, June 1885; 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 410) p. 31
1880s, 1885

Hope , Color , Reality , Light

“The technique used heavy, spiky pastes made of nothing other than ordinary oil paint, used thick and mixed with sand and gravel. I some cases – but these were the exception – a few miscellaneous objects were stuck into the wet paint, such as bits of string or little pieces of glass or mirror.”

Jean Dubuffet book Prospectus et tous écrits suivants

quote by Dubuffet on his technique, he used in his series Hautes Pâtes, exhibited in 1946
Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 428

Past

“What wonderful things [Renoir is reacting on Corot's painting 'Interior of Chartres Cathedral' and Delacroix's 'Interior of M. de Mornay’s house', – he saw in 1919 from his wheelchair, in the reopened painting-rooms of the Louvre]. There isn’t a single big picture worth any more than these two little ones... The Director [of the Louvre] was so charming to me. I wish I could have thanked him properly. If you meet him, tell him how much I enjoyed my visit. If I'd presented myself at the Louvre in my wheelchair thirty years ago, they'd have shot me out fast enough! You see, one has to live a long time to see such changes. I've been one of the lucky ones.”

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

December 1919, Renoir died
late quote of Renoir, c. 1919, in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 237
after 1900

Change , Time , Housing

“Speaking purely for myself, I can say that it was my very acute feeling for the matière, for the substance of painting, which pushed me into thinking about the possibilities of the medium. I wanted to create a kind of substance by means of brush-work. But that is the kind of discovery which one makes gradually, though once a beginning had been made other discoveries follow. Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures. For I suddenly saw the extent to which colour is related to the substance... So my great delight was the 'material' character which I could give to my pictures by introducing these extraneous elements. In short, they provided me with a means of getting further away from idealism in 'representing' the things with which I was concerned.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1921 - 1945, p. 76 - quote of Braque from 'Cahiers d'art', 1954, ed. Dora Vallier

Feeling , Thinking

“This evening the Anthroposophical Society invited me to give a lecture about modern art, on 13 March. They start to wake up here [in the Netherlands]… Please, tell me something, what I should emphasize, what you find most important. I shall also read something from 'The Spiritual in Art' by Kandinsky… But we still have other views on the whole, isn't it. I don't always agree with Kandinsky, and often more with your views. So please write a little much… You know, for me it is always easier to paint my principles.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Heute abend bin ich durch den Anthroposophischen Verein eingeladen (worden) am 13. März einen Vortrag über moderne Kunst zu halten. Man fängt hier an zu erwachen.. .Bitte, sage mir einiges, was ich speziell betonen soll, was Du am wichtigsten findest. Ich werde dann auch aus 'Das Geistige in der Kunst' von Kandinsky.. ..etwas vorlesen. Aber wir haben doch in Ganzen noch andere Ansichten. Ich stimme nicht immer met Kandinsky überein, und oft mehr mit Deinen Ansichten. Also bitte schreibe ein bisschen viel.. .Du weisst, ich finde es immer einfacher, meine Prinzipien zu malen.
in a letter to Herwarth Walden, 28 Feb. 1916; from the 'Sturm'-Archive, Berlin
1910's

Art , Reading

“It was because of the general inclination, until very recently, to believe that art exists in art. At every opportunity, I've tried to correct that idea, suggesting that art is only a part – one of the elements that we live with... Being a painter, I probably take a painting more seriously than someone who drives a truck or something. Being a painter, I probably also take his truck more seriously. In the sense of looking at it and listening to it and comparing it to other trucks and having a sense of its relationship to the road and the sidewalk and the things around it and the driver himself. Observation and measure are my business.”

Robert Rauschenberg (1925–2008) American artist

1960's, I never thought of it as much of an ability,' (1968)

Art , Idea , Business , Sense

“Only today can art be metaphysical, and it will continue to be so. Art will free itself from the needs and desires of men. We will no longer paint a forest or a horse as we please or as they seem to us, but as they really are.”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

Men , Art , Horse

“A painting is finished when the artist says it is finished.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

Statement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003), by Alison MacQueen
One of the popular aphorisms about Rembrandt's paintings, drawn from his early biographies in early 19th century and repeatedly attributed to the artist by the French writers and artist, Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The
undated quotes

“The painter paints his brushes black
Through the canvas runs a crack
Portrait of the pain never answers back.”

Phil Ochs (1940–1976) American protest singer and songwriter

"The Flower Lady" http://web.cecs.pdx.edu/~trent/ochs/lyrics/flower-lady.html
Pleasures of the Harbor (1967)

Pain

“As I said, in the Fifties I had the 'angst' (= Dutch for 'fear') to survive materialistically. In the city Paris it was a battle. I painted with a knife and called the results 'human landscapes', abstract landscapes with human faces here and there. Today I can do without fight or struggle; every brushstroke now is ready, goes by itself: la peinture depouillé you could say. I discovered that in Picasso's late paintings. You look very closely but there is nothing anymore. He painted here and there a little bit; it is not finished, but once you step back you see a fantastic image, life by itself. I'm not fighting anymore; I'm floating, surfing on the wind.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Source: Karel Appel – the complete sculptures,' (1990), p. 95 'Quotes', K. Appel (1989)

Life , Fear , Fight

“You know who doesn't like that bit? Cops. They don't like it. They don't like it. And I think its important -- I'm being sincere. I think its important that we acknowledge, all of us, that there are plenty of good, decent, ethical, very brave cops, who put their lives on the line every day, and they don't appreciate being painted with this broad brush as being violent predators just because of the actions of a minority of their brothers. They don't like being stereotyped so that when you see blue, you just think "Oh, violent thug."”

David Cross (1964) American comedian, writer and actor

They don't appreciate it.
Making America Great Again

Thinking , Sincerity

“My whole intention in painting is to make a thing poetical; but not poetical in a literary sense. I want something that evokes mood, a background, a stage set for certain characters that are playing certain parts. When I paint I do not consider myself an abstractionist in the sense that I'm trying to create beautiful forms that fit together like a puzzle. The things in my painting are intended to strike something that is an emotional involvement – that has to do with the human personality and all the mysteries of life, not simply colors or abstract balances. To me, it's all reality.”

William Baziotes (1912–1963) American painter

Quote from An interview with William Baziotes, eds. P. Franks and M. White, Perspective no. 2, Hunter College New York (1956-57), pp. 27, 29-30
1950s

Life , Beauty , Color , Mood

“So if I say you that your paintings [which his brother-in-law recently made] have nothing in common with what we see generally classified and accepted, and that you have always managed to produce things that were entirely your own work, as I truly see it, that does not mean you have the right to be seated next to Leonardo -
What's more, this originality is suicidal as it distances you from a 'clientele' used to 'copies of copiers', often referred to as 'tradition'-
One more thing, your technique is not the 'expected' technique – It's your own personal technique, borrowed from nobody – and there again, this doesn't attract the clientele.... In a word, do less self-analysis and enjoy your work without worrying about opinions, your own as well as that of others.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 167-168
1951 - 1968

Law , Suicide , Personality

“Proportion applies to sculpture as to painting; perspective determines the contour; chiaroscuro gives relief through the disposition of lights and shadows in their relationship with the background; color gives the appearance of life... The colorists, the men who unite all the phases of painting, have to establish, at once and from the beginning, everything that is proper and essential to their art. They have to mass things in with color, even as the sculptor does with clay, marble or stone; their sketch, like that of the sculptor, must also render proportion, perspective effect, and color.”

Eugène Delacroix (1798–1863) French painter

15 April 1851, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 230 – 231
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Life , Men , Art , Color

“I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end... Thus the fact that good European moderns [European artists who lived in the U. S. because of the Nazi-regime] are now here is very important, for they bring with them an understanding of the problems of modern painting. I am particularly impressed with their concept of the source of art being the unconscious. These idea interests me more than these specific artists do, for the two artists I admire most, Picasso and Joan Miró, are still abroad.”

Jackson Pollock (1912–1956) American artist

As quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York, 1990, p. 138
1940's, Art and Architecture (1944)

Art , Idea , Understanding , Problem

“The advance from drawing to painting should be gradual, and no serious attempts in colour should be made until the student has obtained proficiency in outline and in light and shade. If the artist cannot draws objects in a rather masterly way there is no point in his attempting colour.”

Ogden Rood (1831–1902) American physicist

Students' Text-book of Color; Or, Modern Chromatics, with Applications to Art and Industry. New York: D. Appleton and Company. 1881.

Way , Light , Drawing

“Not long ago the head of what should be a strictly scientific department in one of the major universities commented on the odd (and ominous) phenomenon that persons who can claim to be scientists on the basis of the technical training that won them the degree of Ph. D. are now found certifying the authenticity of the painted rag that is called the "Turin Shroud" or adducing "scientific" arguments to support hoaxes about the "paranormal" or an antiquated religiosity. "You can hire a scientist [sic]," he said, "to prove anything." He did not adduce himself as proof of his generalization, but he did boast of his cleverness in confining his own research to areas in which the results would not perturb the Establishment or any vociferous gang of shyster-led fanatics. If such is indeed the status of science and scholarship in our darkling age, Send not to ask for whom the bell tolls.”

Revilo P. Oliver (1908–1994) American philologist

"The Price of the Head", Instauration magazine (March 1980)
1970s, 1980s

Age , Support , Universe , Science

“There is much virtue in a window. It is to a human being as a frame is to a painting, as a proscenium to a play, as 'form' to literature. It strongly defines its content.”

Max Beerbohm book Mainly on the Air

"Fenestralia" http://books.google.com/books?id=YZMhAAAAMAAJ&q=%22There+is+much+virtue+in+a+window+It+is+to+a+human+being+as+a+frame+is+to+a+painting+as+a+proscenium+to+a+play+as+form+to+literature+It+strongly+defines+its+content%22&pg=PA147#v=onepage, Mainly on the Air (1946), The Atlantic ( April 1944 http://books.google.com/books?id=5KAGAQAAIAAJ&q=%22There+is+much+virtue+in+a+window+It+is+to+a+human+being+as+a+frame+is+to+a+painting+as+a+proscenium+to+a+play+as+form+to+literature+It+strongly+defines+its+content%22&pg=PA85#v=onepage)

Literature

“.. how the movement of the passers-by [in his Street scene painting of 191-14] is comprehended in the rhombus of the heads which is twice repeated. In this way life and movement arise from an original geometric form. [Kirchner designed a diagram together with this line in the letter]”

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

Letter to Karl Hagemann, 27 February 1937; as quoted in Kirchner and the Berlin street, ed. Deborah Wye, Moma, New York, 2008, p. 81 - note 31
1930's

Life , Way

“.. I did a great deal of work [in 1903, Normandy]. And I understood how to transfer nature into colors appropriate to the odor of my soul. I painted a large number of landscapes there, bushes and Breton heads from my window. The pictures were glowing with color. And my inner self was contended.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote of Jawlensky, c. 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 114
1900 - 1935

Color , Soul , Nature

“The sudden start, the rapid step once more,
As if it would annihilate the time:
But who may paint the solitude of crime?”

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

Title poem, section IX.
The Venetian Bracelet (1829)

Solitude , Time

“Painting is created from within and we must begin from within if we are to understand it.”

Patrick Swift (1927–1983) British artist

Italian Report (1955)

Understanding

“I gave life to the walls
a voice I gave them
more friendly so that would become my company
and the guards asked
to know where they could find the paint.The walls of the cell
kept the secret
and the mercenaries searched everywhere
but paint they could not find.Because they did not think for one moment
that they should search into my veins.”

Alexandros Panagoulis (1939–1976) Greek politician and poet

I Bogia (The Paint).
Poetry, Vi scrivo da un carcere in Grecia (I write you from a prison in Greece) (1974)

Life , Secret , Search , Thinking

“Van Gogh writing his brother for paints
Hemingway testing his shotgun
Celine going broke as a doctor of medicine
the impossibility of being human
Shakespeare a plagiarist
Beethoven with a horn stuck into his head against deafness
the impossibility the impossibility
Nietzsche gone totally mad
the impossibility of being human
all too human
this breathing
in and out
out and in
these punks
these cowards
these champions
these mad dogs of glory
moving this little bit of light toward us
impossibly.”

Charles Bukowski (1920–1994) American writer

"Beasts Bounding Through Time" (1986)

Dogs , Light , Madness

“No, absolutely not, I have never been what one calls a gifted child, never a dreamer. I didn't think of making fantasies with the pencil on the paper, although at school we learned to draw and play music of course. But in those days the piano was actually what I preferred most... But until my eighteenth year I have been hesitating long between both [painting and playing piano]..”

Suze Robertson (1855–1922) Dutch painter

version in original Dutch / origineel citaat van Suze Robertson: Nee, ik ben volstrekt nooit wat men noemt een begaafd kind geweest, nooit een droomster. Aan fantasie met 't potlood op 't papier dacht ik niet, al leerden we op school natuurlijk ook teekenen en muziek. Maar in dien tijd was de piano eigenlijk meer mijn fort.. .Toch heb ik tot mijn achttiende jaar tussen die beide lang gewankeld.
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 30

School , Music , Thinking , Learning

“When I was a child, I spent all my spare time looking at birds and insects (beetles). My color use, and the object quality of the 'painting', and the use of fragmentation is closer to birds and beetles and fish, than it is to De Stijl or the Constructivists.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

Color , Bird , Fish , Time

“"I do not literally paint that table, but the emotion it produces upon me."
After a pause full of intense thought on my part, I asked: "But if one hasn't always emotion. What then?"
"Do not paint," he quickly answered. "When I came in here to work this morning I had no emotion, so I took a horseback ride. When I returned I felt like painting, and had all the emotion I wanted.”

Henri Matisse (1869–1954) French artist

Interview with Clara T. MacChesney (1912), in Matisse on Art (1995) edited by Jack D. Flam, p. 66
1910s

Parting

“To die before being painted by Sargent is to go to Heaven prematurely.”

Saki (1870–1916) British writer

"Reginald on the Academy"
Reginald (1904)

“I will not live in the same rooms as the Borgias lived. He [Pope Alexander VI] desecrated the Holy Church as none before. He usurped the papal power by the devil's aid, and I forbid under the pain of excommunication anyone to speak or think of Borgia again. His name and memory must be forgotten. It must be crossed out of every document ad memorial. His reign must be obliterated. All paintings made of the Borgias or for them must be covered over with black crepe. All the tombs of the Borgias must be opened and their bodies sent back to where they belong — to Spain.”

Pope Julius II (1443–1513) pope from 1503 to 1513

As quoted in Sex Lives of the Popes (1996) by Nigel Cawthorne, p. 219

Pain , Thinking , Memory

“Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 10 : Notes from 1969

Freedom

“If you don't know what Ad Reinhardt's) paintings are about, you don't know what painting is about [after Reinhardt's death in 1967].”

Frank Stella (1936) American artist

Quote of 1967; as quoted in Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990
Quotes, 1960 - 1970

Death

“The suggestion that words are symbols for things, actions, qualities, relationships, et cetera, is naive, a gross simplification. Words are slippery customers. The full meaning of a word does not appear until it is placed in its context, and the context may serve an extremely subtle function -- as with puns, or double entendre. And even then the "meaning" will depend upon the listener, upon the speaker, upon their entire experience of language, upon their knowledge of one another, and upon the whole situation. Words do not "mean things" in a one-to-one relation like a code. Words, too, are empirical signs, not copies or models of anything; truly, onomatopoeia and gestures frequently seem to possess resemblance, but this resemblance does not bear too close examination. A cockerel may seem to say cook-a-doodle-do to an Englishman, but a German thinks it says kikeriki, and a Japanese kokke-kekko. Each can paint only with the phonetic sound of his own language.”

Colin Cherry (1914–1979) British scientist

Source: On Human Communication (1957), What Is It That We Communicate?, p. 10-11

Knowledge , Thinking , Appearance , Dependency

“People say that the paintings are always big because they're striving for effect, but they're also big so that I don't trip over myself, so that I have room to work, and people can come in and be comfortable.”

Frank Stella (1936) American artist

Source: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 29.

People

“I got the idea to paint people, in the way I see them. From one face I take to my own idea some very characteristic features of it and then I make of the whole a picture in colors and lines, in the way how I meet that person. The whole thing becomes not at all a portrait in the usual sense... I have tried to make types, but will built in more and more personal qualities and all that kind of things... Everything will be figured out fully abstract of course, it is just a personal feeling and no system at all.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Meine Idee ist es die Menschen zu malen, wie ich sie sehe. Ich nehme aus einem Gesicht einige meiner Ansicht nach am meisten sprechende Züge und ich mache dann vom ganzen ein Bild in den Farben und Linien, wie die Person mir entgegentritt. Das Ganze ist gar kein Porträt im gewöhnlichen Sinne.. .Ich habe mich bemüht, jetz noch Typen zu machen und werde mehr und mehr persönliche Eigenschaften und alle mögliche hereinbringen.. .Alles muss man sich natürlich ganz abstrakt denken, es ist ein persönliches Gefühl und gar kein System.
in a letter to Herwarth Walden, 6 Feb. 1918; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 20
1910's

People , Color , Way , Feeling

“When Earth's last picture is painted and the tubes are twisted and dried,
When the oldest colours have faded, and the youngest critic has died,
We shall rest, and, faith, we shall need it—lie down for an aeon or two,
Till the Master of All Good Workmen shall put us to work anew!”

Rudyard Kipling (1865–1936) English short-story writer, poet, and novelist

L'Envoi, Stanza 1 (1896).
The Seven Seas (1896)

Lie , Faith

“There is a strain in Marx of the cleric, of the vulgar moralist. He paints the capitalist and the bourgeois as incarnations of evil; it is they who are responsible for the woes of mankind. The dismissal of the individual’s responsibility for his own misery is the quintessence of clericalism.”

John Carroll (1944) Australian professor and author

Source: Break-Out from the Crystal Palace (1974), p. 79

Evil

“The element of heroic maleness had always been present in the concept of the artist as one who rides the winged horse above the clouds beyond the sight of lesser men, a concept seldom applied to those who worked with colours until the nineteenth century. When the inevitable question is asked, "Why are there no great women artists?" it is this dimension of art that is implied. The askers know little of art, but they know the seven wonders of the painting world.”

Germaine Greer The Obstacle Race: The Fortunes of Women Painters and Their Work

Source: The Obstacle Race (1979), Chapter V: Dimension (p. 105)

Women , Men , World , Art

“Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the three primary colours and their derivatives.”

Camille Pissarro (1830–1903) French painter

As quoted in Cezanne his Life and Art, Jack Linssey, – Evelyn, Adams and Mackay, London, 1969, p. 154-55
Pissarro 'guided' the wild Cézanne for a few years in painting landscape; for a decade or so in the mid-19th century they often worked side by side and influenced each other
1870's

Color

“One morning with Ripolin [French paint] I painted a new-born that I then left to dry on the tennis-court. After two days I found it bristling with ants that made it move to the anesthetized, silent rhythm of sea-urchins. However I at once realized that this newborn child was none other than the pink breast of my girlfriend, being frenetically eaten by the shining, metallic thickness of the phonograph. But it wasn't her breast either: it was little pieces of my cigarette paper nervously grouped around the magnetic topaz of my fiancees ring.”

Salvador Dalí (1904–1989) Spanish artist

Quote from 'Mon amie et la plage' [My girlfriend and the beach], Salvador Dali, 1927; as quoted in Dali and Me, Catherine Millet, - translation Trista Selous -, Scheidegger & Spiess AG, 8001 Zurich Switzerland, pp. 47-48
Quotes of Salvador Dali, 1920 - 1930

Sea

“Is she not more than painting can express,
Or youthful poets fancy when they love?”

Nicholas Rowe The Fair Penitent

Act iii, scene 1.
The Fair Penitent (1703)

Love , Youth

“Edward Smith: Why is it more of a pleasure to do 30 or 40 pictures than to do just one?
Andy Warhol: Then I can, uh, listen to my soundabout which looks just like the thing that I'm wearing now, and you can listen to opera and stuff like that.
Edward Smith: Does that mean you don't have to think when you're painting?
Andy Warhol: No, you can listen to really good music.
Edward Smith: So, what, painting is an excuse to listen to really good music?
Andy Warhol: Oh, yeah.”

Andy Warhol (1928–1987) American artist

1975 - 1987, BBC interview (1981)

Pleasure , Music , Thinking

“No, Mr. Williams, certainly not; if Mr. Drake [a solicitor of the English Railway Company] has purchased a 'Turner', he ought to know it is a Turner; I was once silly enough to look at a picture that I was told had been painted by me, and I found myself soon after stuck up in a witness-box, giving evidence about it; I then said I'll never be so silly again.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote from Turner's remark c. Jan, 1849, to financial agent Mr. Williams; as cited in 'The life of J.M.W. Turner', Volume II, George Walter Thornbury; https://ia801207.us.archive.org/18/items/lifeofjmwturnerr02thor/lifeofjmwturnerr02thor.pdf Hurst and Blackett Publishers, London, 1862, pp. 248-249
Mr. Drake, the solicitor of the Railway Company, whom Mr. Turner saw when he executed the conveyance, requested Mr. Williams to ask Turner's permission to show him a picture he had purchased as a 'Turner'
1821 - 1851

Box

“It's a sort of infantile thing, painting. Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can't take the time because the idea doesn't correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paint sticks... So I had to find things that I could use, like my hands or the paint sticks... And I did those charts, big palettes... two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task.”

Cy Twombly (1928–2011) American painter

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

Feeling , Idea , Thinking , Sense

“To paint an autumn landscape I will not try to remember what colors suit this season, I will only be inspired by the sensation that the season gives me; the icy clearness of the sour blue sky will express the season just as well as the tonalities of the leaves. My sensation itself may vary, the autumn may be soft and warm like a protracted summer or quite cool with a cold sky and lemon yellow trees that give a chilly impression and announce winter.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 412

Color , Autumn , Tree , Winter

“When I think of the thousands and thousands of pounds which have been spent by the National Art Collections Fund on the purchase of paintings—some of questionable merit and dubious condition—by Old Masters already represented in the National Gallery—it makes me boil with rage to think that in 1905 it would not contribute one halfpenny towards the purchase for the nation of a picture by one of the Great French Masters of the late nineteenth century. It was a short-sighted policy, but the Fund's inertia and snobbish ineptitude are entirely characteristic of the habits of art-officialdom in England.”

Frank Rutter (1876–1937) British art critic

Rutter, Frank. Art in My Time, pp. 118–119. Rich & Cowan, London, 1933.
The National Art Collections Fund is now called The Art Fund.

Art , Question , Thinking , Rage

“The Volta is taken from a Federico Fellini book about his films, what he characterizes as a changing of scene, or a turnaround; a new scene to him is called Volta. Y'know, changing of time and the changeover. And Mars, we're just fascinated by science fiction so and it's something that ultimately looked as in anything I write, its meaning is always up to the listener. As the way we write songs and words, if it looks great on paper then to us it's like painting, so if it looks good meaning the second then people usually have a better interpretation than we ever would.”

Cedric Bixler-Zavala (1974) American singer

Bixler-Zavala about the bandname The Mars Volta http://www.experiencefestival.com/a/The_Mars_Volta_-_Etymology_and_trivia/id/2070708

People , Books , Way , Science

““It is the principle of Business, which is more fundamental than the law of gravity. Wherever you go in the galaxy, you can find a food business, a housebuilding business, a war business, a peace business, a governing business, and so forth. And, of course, a God business, which is called ‘religion,’ and which is a particularly reprehensible line of endeavor. I could talk for a year on the perverse and nasty notions that the religions sell, but I’m sure you’ve heard it all before. But I’ll just mention one matter, which seems to underlie everything the religions preach, and which seems to me almost exquisitely perverse.”
“What’s that?” Carmody asked.
“It’s the deep, fundamental bedrock of hypocrisy upon which religion is founded. Consider: no creature can be said to worship if it does not possess free will. Free will, however, is free. And just by virtue of being free, is intractable and incalculable, a truly Godlike gift, the faculty that makes a state of freedom possible. To exist in a state of freedom is a wild, strange thing, and was clearly intended as such. But what do the religions do with this? They say, ‘Very well, you possess free will; but now you must use your free will to enslave yourself to God and to us.’ The effrontery of it! God, who would not coerce a fly, is painted as a supreme slavemaster! In the face of this, any creature with spirit must rebel, must serve God entirely of his own will and volition, or must not serve him at all, thus remaining true to himself and to the faculties God has given him.”
“I think I see what you mean,” Carmody said.
“I’ve made it too complicated,” Maudsley said. “There’s a much simpler reason for avoiding religion.”
“What’s that?”
“Just consider its style—bombastic, hortatory, sickly-sweet, patronizing, artificial, inapropos, boring, filled with dreary images or peppy slogans—fit subject matter for senile old women and unweaned babies, but for no one else. I cannot believe that the God I met here would ever enter a church; he had too much taste and ferocity, too much anger and pride. I can’t believe it, and for me that ends the matter. Why should I go to a place that a God would not enter?””

Robert Sheckley book Dimension of Miracles

Source: Dimension of Miracles (1968), Chapter 13 (pp. 88-89)

Women , God , War , Peace

“It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example [his paintings] the 'Portrait of Madame S.”

Gino Severini (1883–1966) Italian painter

(1912) and the 'Seated Woman' (1914).
Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248

World , Cars , Way , Personality

“Animistic savages prostrating themselves before a painted stone have always seemed to me to be nearer the truth than any Einstein or Bertrand Russell.”

Malcolm Muggeridge (1903–1990) English journalist, author, media personality, and satirist

Chronicles of Wasted Time: The Green Stick (1972)

Truth

“In [18]35, I made a study trip about Utrecht and Nijmegen to Dusseldorf, Cologne and [w:Koblenz|Coblentz]], together with Samuel Verveer, who had already left the studio of van Hove. My painting 'View of the Moselle Bridge in Coblentz' – exhibited in the same year here - was bought by Schelfhout and, in addition to the satisfaction it gave me, I was allowed to find a counselor in him from then on; he became and remained my friend since then.”

Johannes Bosboom (1817–1891) Dutch painter

origineel citaat van Johannes Bosboom, in Nederlands: In [18]35 maakte ik met gekocht en, behalve de voldoening, die daarin voor mij was gelegen, mocht ik van toen af een raadsman in hem vinden, die mij sinds ook een vriend is geworden en gebleven.
p. 9
1880's, Een en ander betrekkelijk mijn loopbaan als schilder

Study

“To be true, you have to take the plunge, to touch bottom. But most people want to be in control. They fear the worst. You can’t control anything. What you have to do is let yourself be taken over... All the paintings I have made, I was compelled to make. You must never force yourself.”

Bram van Velde (1895–1981) Dutch painter

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

People , Fear

“Most artists, whether in religion, music, literature, painting, or what not, are shopkeepers in disguise. They hide their shop as much as they can, and keep pretending that it does not exist, but they are essentially shopkeepers and nothing else.”

Samuel Butler (1835–1902) novelist

The Artist and the Shopkeeper
The Note-Books of Samuel Butler (1912), Part XI - Cash and Credit

Religion , Music , Literature

“You were asking my opinion on your work of art, my dear Jean [= Duchamp's brother-in-law Jean Crotti, who asked Duchamp his comment on an art-work he made]... Artists throughout the ages are like Monte Carlo gamblers and the blind lottery pulls some of them through and ruin others... I do not believe in painting per se – A painting is made not by the artist but by those who look at it and grant it their favors. In other words, no painters knows himself or what he is doing – There is no outward sign explaining why a Fra Angelico and a Leonardo [da Vinci] are equally 'recognized.”

Marcel Duchamp (1887–1968) French painter and sculptor

It all takes place at the level of our old friend luck.
Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 167
1951 - 1968

Happiness , Age , Law , Art

“Lately I have been asking for landscape [paintings] with animals, so I have devoted a lot of time this year sketching cows. (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:) In den laatsten tijd vraagt men mij steeds landschap met beesten zoodat ik mij van dit jaar veel op studie van koeijen heb toegelegd.
In a letter of Roelofs to P. verLoren van Themaat, 3 Sept, 1882; Haagsch Gemeente-archief / Municipal Archive of The Hague
1880's

Time , Animals

“Film-making encompasses everything, from tricking people into investing in it, to putting on the show, to trying to distill down to moments in time, and ape reality but send this other message. It's got everything. When I was a kid I loved to draw, and I loved my electric football sets, and I painted little things and made sculptures and did matte painting and comic books and illustrated stuff, and took pictures, had a darkroom, loved to tape-record stuff. It's all of that. It's not having to grow up. It's four-dimensional chess, it's strategy, and it's being painfully honest, and unbelievably deceitful, and everything in between.”

David Fincher (1962) American film director

Gavin Smith goes one-on-one with David Fincher (1999)

Love , People , Books , Reality

“Somehow it doesn't seem long since I trudged in a picket-line; in the street here, and in the rain. A fairly muted demonstration against the Museum, which wasn't always in a mood for showing abstract paintings by Americans. It was fun I suppose-needless to say, the picketing produced no results. Yet a majority of the picketers are visible through their works at the moment, upstairs on the third floor, where it's warm and out of the rain. However, this is no time to celebrate in fact it's better if artists never celebrate. New abstract picket-lines are doubtless assembling, to protest the former picketers.”

George L.K. Morris (1905–1975) American painter and sculptor

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

Mood , Time

“Sinatra with a cold is Picasso without paint, Ferrari without fuel — only worse.”

Gay Talese Frank Sinatra Has a Cold

Frank Sinatra Has a Cold (Esquire, April 1966)

“I still paint sad children, because there's sadness in the world, but they have hope, and I have hope.”

Margaret Keane (1927) American artist

2014, Cited by Jesse Hamlin

Children , World , Sadness , Hope

“Let's face it, nobody could paint eyes like El Greco, and nobody can paint eyes like Walter Keane.”

Walter Keane (1915–2000) American plagiarist

Referring to himself in the third person, page 39. Cited also in " The lady behind those Keane-eyed kids https://books.google.com/books?id=2FMEAAAAMBAJ&pg=PA56," LIFE 69, no. 21 (20 November 1970), p. 56; by Amy M. Spindler, " Style; An Eye for an Eye http://www.nytimes.com/1999/05/23/magazine/style-an-eye-for-an-eye.html," The New York Times (23 May 1999); and by Jesse Hamlin, " Artist Margaret Keane hasn't lost wide-eyed enthusiasm for work http://www.sfgate.com/entertainment/article/Artist-Margaret-Keane-hasn-t-lost-wide-eyed-5955625.php," SFGate (14 Decembet 2014).
1965, Cited by Jane Howard

“This Spring of 1911 Marianne von Werefkin [his former study-mate in Russia and in fact his life-comapnion for many years, but never married] Andrei, Helene and I went to Prerow on the Baltic [coast]. For me that summer meant a great step forward in my art. I painted my finest landscapes there as well as large figure paintings in powerful, glowing colours and not at all naturalistic or objective. I used a great deal of red, blue, orange, cadmium yellow and chromium-oxide green. My forms were very strongly contoured in Prussian blue, and came with tremendous power from an inner ecstasy. 'Der Buckel', 'Violetter Turban', 'Selbstporträt'.... were created in this way. It was a turning-point in my art. It was in these years, up to 1914, just before the war [World War 1. ], that I painted my most powerful works, referred to as the pré-war works.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote c. 1911; in 'Lebenserinnerungen', 1938; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994 (a. o. his life quotes from ['Life Memories'] he dictated late in his life, in 1938)
1900 - 1935

Life , War , World , Art

“Our ground today is not so much the national or the regional ground as it is the understanding of this single earth. The earth has been round for some time now, but not in man’s relation to man, nor in the understanding of the arts of each as a part of that roundness. As usual we have occupied ourselves too much with the outer, the objective, at the expense of the inner world wherein tie true roundness lies... America more than any other country is placed geographically to lead in this understanding., and if from past methods of behaviour she has constantly looked towards Europe, today she must assume her position, Janus-faced, toward Asia, for in not too long a time the waves of the Orient shall wash heavily upon her shores. All this is deeply related with her growth in the arts, particularly upon the Pacific slopes. Of this I am aware. Naturally my work will reflect such a condition and so it is not surprising to me when an Oriental responds to a painting of mine as well as an American or an European..”

Mark Tobey (1890–1976) American abstract expressionist painter

Quote from Fourteen Americans, Mark Tobey, exhibition catalogue MOMA New York, 1946, p. 70
1940's

World , Art , Understanding , Nature

“The time has passed for our sensations in painting to be whispered. We wish them in the future to sing and re-echo upon our canvasses in deafening and triumphant flourishes.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 132.
1910, Manifesto of Futurist Painters,' April 1910

Singing , Time , Future

“Painting for me is like a fabric, all of a piece and uniform, with one set of threads as the representational, esthetic element, and the cross-threads as the technical, architectural, or abstract element. These threads are interdependent and complementary, and if one set is lacking the fabric does not exist.A picture with no representational purpose is to my mind always an incomplete technical exercise, for the only purpose of any picture is to achieve representation.”

Juan Gris (1887–1927) Spanish painter and sculptor

Quote from 'On the Possibilities of Painting,' lecture, Sorbonne (1924-05-15)

Exercises

“If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying – for however long it takes – until I think it has improved. And I don't demand an explanation from myself as to why this is so.”

Gerhard Richter (1932) German visual artist, born 1932

Quote in an interview with Astrid Kaspar, 2000; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5
after 2000

Way , Feeling , Thinking , Change

“Most mathematics books are filled with finished theorems and polished proofs, and to a surprising extent they ignore the methods used to create mathematics. It is as if you merely walked through a picture gallery and never told how to mix paints, how to compose pictures, or all the other "tricks of the trade."”

Richard Hamming (1915–1998) American mathematician and information theorist

Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)

Books , Mathematics

“Sculpture should walk on the tips of its toes, unostentatious, unpretentious, and light as the spoor of an animal in snow. Art should melt into and even merge with nature itself. This is obviously contrary to painting and sculpture based on nature. By so doing, art will rid itself more and more of self-centredness, virtuosity and absurdity.”

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

Arp on Arp: poems, essays, memories. p. 327 (1958)
1950s

Art , Nature , Light , Animals

“Painting is very private and personal. There's an emotional content, but I'm more involved in the light and color and drawing of a painting. I don't set out to portray an emotion.”

Helen Frankenthaler (1928–2011) American artist

Quote from an interview in 'The Post', 1972; as cited in 'Helen Frankenthaler, noted abstract painter, dies at 83' https://www.washingtonpost.com/local/obituaries/helen-frankenthaler-noted-abstract-painter-dies-at-83/2011/12/27/gIQAwr0dLP_story.html?noredirect=on&utm_term=.08d9ecdb8773, Matt Schudel, December 27, 2011
1970s - 1980s

Color , Light , Drawing , Personality

“I am busy painting every day studies of the weavers here, which I think are technically better than the painted studies from Drenthe, which I sent you.”

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

1880s, 1884
Source: Quote from Letter 355, from Nuenen The Netherlands, January 1884; 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, page: Catalog: Dutch Period 2. - Weaver

Business , Thinking , Study

“In the beginning I drew and painted from nature in order to know her. Then later, only to fall under her spell. And today, to let her mirror my thoughts and feelings.”

William Baziotes (1912–1963) American painter

from the catalog of the traveling exhibition 'Nature in Abstraction', Whitney Museum of modern Art, 1958, p. 61
1950s

Feeling , Nature

“I don't remember where I picked up the head — or the hollyhock. Flowers were planted among the vegetables in the garden between the house and the hills and I probably picked the hollyhock one day as I walked past. My paintings sometimes grow by pieces from what is around... I have used these things to say what is to me the wideness and wonder of the world as I live in it.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)

World , Flowers , Past , Housing

“I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.”

Grandma Moses (1860–1961) American artist

As quoted in TIME magazine, Vol. 52 (1948)

Color , Imagination , Tree

“I've made use of the beautiful weather to sketch and paint outside. I had been staying away from color for such a long time that it had become something quite foreign to me. Working in color was always a great joy to me. And now it is a great joy again. Still, I have to battle with it, wrestle with it, with all my strength. And one must be victorious. But if it weren't for the fight, all the beauty of it wouldn't exist at all, would it? I'm writing this mostly for Mother who, I believe, thinks my whole life is one constant act of egoistic ecstasy. But devotion to art also involves something unselfish.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her parents, from Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199
1899

Life , Beauty , Art , Color

Quotes about painting page 19

Quotes about painting
page 19