Quotes about painting
page 23

“The room was not a room to elevate the soul. Louis XIV, to pick a name at random, would not have liked it, would have found it not sunny enough, and insufficiently full of mirrors. He would have desired someone to pick up the socks, put the records away, and maybe burn the place down. Michelangelo would have been distressed by its proportions, which were neither lofty nor shaped by any noticeable inner harmony or symmetry, other than that all parts of the room were pretty much equally full of old coffee mugs, shoes and brimming ashtrays, most of which were now sharing their tasks with each other. The walls were painted in almost precisely that shade of green which Raffaello Sanzio would have bitten off his own right hand at the wrist rather than use, and Hercules, on seeing the room, would probably have returned half an hour later armed with a navigable river. It was, in short, a dump, and was likely to remain so for as long as it remained in the custody of Mr Svlad, or 'Dirk', Gently, né Cjelli.”

Douglas Adams The Long Dark Tea-Time of the Soul

Source: The Long Dark Tea-Time of the Soul (1988), Ch. 3

Shoe, Soul, Coffee, Parting

“It was the ultimate possible statement of powerlessness and desperation [Richter is referring to w:John Cage's famous 'Lecture on Nothing']. Nothing, absolutely nothing left, no figures, no color, nothing. Then you realize after you've painted three of them that one's better than the others and you ask yourself why is that. When I see eight pictures together I no longer feel that they're sad, or if so, they're sad in a pleasant way.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 95, note 28

Sadness, Color, Way, Feeling

“In scientific thought we adopt the simplest theory which will explain all the facts under consideration and enable us to predict new facts of the same kind. The catch in this criterion lies in the word "simplest." It is really an aesthetic canon such as we find implicit in our criticisms of poetry or painting. The layman finds such a law as {\mathrm{\partial }x \over \mathrm{\partial } t} = \Kappa { \, \mathrm{\partial}^2x \over \mathrm{\partial }y^2} much less simple than "it oozes," of which it is the mathematical statement. The physicist reverses this judgment, and his statement is certainly the more fruitful of the two, so far as prediction is concerned. It is, however, a statement about something very unfamiliar to the plainman, namely, the rate of change of a rate of change.”

J. B. S. Haldane (1892–1964) Geneticist and evolutionary biologist

Possible Worlds and Other Papers (1927), p. 227

Law, Mathematics, Change

“I think there is a total equality for me between painting a literary figure or Kate Moss or my Mum or a dog or a bird. To me, they are all absolutely equal.”

Stella Vine (1969) English artist

Honigman, Ana Finel. "Stella Vine in conversation with Ana Finel Honigman" http://www.saatchi-gallery.co.uk/blogon/2007/07/stella_vine_in_conversation_wi.php, Saatchi Gallery (2007-07-25). On the subjects she paints.

Dogs, Bird, Thinking

“As far as I can remember, it was before my twelfth year that I was sketching cows in the mornings before and afternoons after school, and because my brothers were 4 and 6 years older than me – naturally I got from them my first teachings in drawing and later in painting.”

Willem Maris (1844–1910) Dutch landscape painter of the Hague School (1844-1910)

translation from original Dutch, Fons Heijnsbroek, 2018 version in original Dutch / origineel citaat van Willem Maris: Voor zover ik mij herinneren kan, was ik voor mijn twaalfde jaar 's Morgens voor, en 's middags na schooltijd al in de weilanden aan 't teekenen van koeien en daar mijn broers 4 en 6 jaar ouder waren als ik - genoot ik natuurlijk van hen het eerste onderwijs in het teekenen en later in het schilderen. Quote of Willem Maris, in his letter in 1901; 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. 36

School, Nature, Drawing

“I learned from Nol that nowadays you [ Willem Witsen ] are especially engaged upon enlargements [of photos]. I would like to ask you if you perhaps have a piece of moorland (foreground) for me, I would be very grateful to you. Because I am working on a painting with a large foreground. You may have seen it, with that artillery in it. It must be a simple sloping ground. Without much frills of sand - etc. nothing but heather..”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Ik vernam van Nol dat ge u tegenwoordig speciaal bezig houdt met vergrootingen [van foto's]. Ik zou je wel willen vragen als je soms een stuk heidegrond (voorgrond). voor me had, zou ik je zeer dankbaar zijn. Ik ben naml. aan een schilderij bezig met groote voorgrond. je hebt het misschien wel gezien, met die artillerie er op. Het moet een eenvoudig opglooiende grond [zijn]. Zonder veel tierelantijntjes van zand – etc niets anders dan heide..
In a letter of Breitner to Willem Witsen, undated, c. 1893-99; in the collection Royal Dutch Library, the Hague; as cited in master-thesis Van Gogh en Breitner in Den Haag, Helewise Berger, University of Utrecht, The Netherlands, p. 48
The two artists exchanged sometimes photos, using them as elements for their paintings
1890 - 1900

Photo, Learning

“That is always difficult [making a repetition of an sold painting] and can only become a potboiler. (translation from the original Dutch: Fons Heijnsbroek)”

Jozef Israëls (1824–1911) Dutch painter

version in original Dutch (citaat van Jozef Israëls in Nederlands): Dat is altijd lastig [een herhaling maken van een al verkocht schilderij] en kan slechts een potboiler [ding voor de verkoop] worden.
In a letter, 13 Dec. 1876, to art-sellers Pilgeram & Lefèvre in London; Foundation Custodia, Paris,input no. 1971-A.506
Israëls was asked to make a duplicate of his painting 'Karig Maal / The Frugal Meat', but refused it and proposed a painting with the same subject, a shoemaker figure, but now sitting at a cradle with his wife cutting bread in the background
Quotes of Jozef Israels, 1871 - 1900

“I really want to talk to you a lot, but what do I have to do? I still have things in progress here, two paintings and [I] must necessarily study sheep. (translation from original Dutch, Fons Heijnsbroek, 2018)”

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

(version in original Dutch / origineel citaat van Anton Mauve, in het Nederlands:) Ik verlang erg om veel met je te bepraten maar wat moet ik doen Ik heb nog dingen hier onderhanden, twee schilderijtjes en moet noodzakelijk nog schapen bestuderen. Quote of Mauve, in his letter from ; as cited in Archive P.A. Scheen, collectie RKD Den Haag http://delamar.bntours.nl/!mad1832-bronnen.html Anton Mauve studied the sheep on the spot itself, to paint them in the proper mood and in good lighting on the canvas 1860's

Study

“The subject matter of creation is chaos. The present feeling seems to be that the artist is concerned with form, color, and spatial arrangement. This objective approach to art reduces it to a kind of ornament. The whole attitude of abstract painting, for example, has been such that it has reduced painting to an ornamental art whereby the picture surface is broken up in geometrical fashion into a new kind of design-image. It is a decorative art built on a slogan of purism where the attempt is made for an unworldly statement…”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 1. 1943-1945, p. 139

Art, Color, Feeling, Fashion

“I don't like that word 'finish'. When something is finished, that means it's dead, doesn't it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.”

Arshile Gorky (1904–1948) Armenian-American painter

quote of 1948
1942 - 1948
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p 32

Quotes, Change, Time, Dead

“I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violence, and I am not violent).”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 51, note 63

Nature

“The root of all religions, from the Baha'i point of view, is based on the theory that man will gradually come to understand the unity of the world and the oneness of mankind. It teaches that all the prophets are one – that science and religion are the two great powers which must be balanced if man is to become mature. I feel my work has been influenced by these beliefs. I've tried to decentralize and interpenetrate so that all parts of a painting are of related value.”

Mark Tobey (1890–1976) American abstract expressionist painter

as quoted in Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 60
posthumous Quotes

World, Religion, Feeling, Understanding

“The theory of perspective was taught in painting schools from the sixteenth century onward according to principles laid down by the masters… However, their treatises on perspective had on the whole been precept, rule, and ad hoc procedure; they lacked a solid mathematical basis. In the period from 1500 to 1600 artists and subsequently mathematicians put the subject on a satisfactory deductive basis, and it passed from quasi-empirical art to a true science. Definitive works on perspective were written much later by eighteenth-century mathematicians Brook Taylor and J. H. Lambert.”

Morris Kline (1908–1992) American mathematician

Source: Mathematical Thought from Ancient to Modern Times (1972), p. 183

School, Art, Mathematics, Science

“I am quite incapable of doing them [making landscapes], even the shadow. My trees look like spinach and my sea like heaven knows what.... [the Mediterranean landscape was] the devil to paint, precisely because it is so beautiful.”

Henri de Toulouse-Lautrec (1864–1901) French painter

young Lautrec comments his own paintings of the landscape, when he was c. 15 years old.
Source: 1879-1884, T-Lautrec, by Henri Perruchot, p. 46 - remark to his friend Etienne Devismes - in Nice, 1879

Beauty, Tree, Sea

“With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not.”

Robert Rauschenberg (1925–2008) American artist

Source: 1960's, The Bride and the Bachelors, (1962), pp. 203-204

Art

“Contented, unambitious people are all very well in their way. They form a neat, useful background for great portraits to be painted against, and they make a respectable, if not particularly intelligent, audience for the active spirits of the age to play before. I have not a word to say against contented people so long as they keep quiet.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

"On Getting On in the World".
Idle Thoughts of an Idle Fellow (1886)

People, Age, Way, Intelligence

“This superficial blurring has something to do with the incapacity I have just mentioned. I can make no statement about reality clearer than my own relationship to reality; and this has a great deal to do with imprecision, uncertainty, transience, incompleteness, or whatever. But this doesn't explain the pictures. At best it explains what led to their being painted.”

Gerhard Richter (1932) German visual artist, born 1932

in an interview with Rolf Schön, 1972; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5 1970's

Reality

“At one point Trudeau mentioned to me that the National Gallery wanted to buy a masterpiece by the great Italian painter Lotto, and it needed a million dollars from the Treasury Board. "Is that Lotto-Quebec or Lotto-Canada?" I joked, but I got the message, and the National Gallery got the painting.”

Jean Chrétien (1934) 20th Prime Minister of Canada

Source: Straight From The Heart (1985), Chapter Three, The Business Of politics, p. 87

“Never had the critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

Appearance, Time

“The ability and the desire to transmit knowhow, intention, and insight to others around us have co-evolved with humanity itself. Mixed reality is a huge milestone in that human project of record keeping, perspective sharing, empathising, and merging with the ‘other’, a project that began with the first cave painting, or even earlier.”

Anand Gandhi (1980) Indian film director

"‘Cost of Coal’, India’s first documentary in VR" in The Hindu (16 July 2016) http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/cost-of-coal-indias-first-documentary-in-vr/article8856593.ece

Reality

“It is a horrid abomination to see in Christian temples a painted image either of Christ or of any saint.”

Epiphanius of Salamis (315–403) Christian bishop and saint

Epistle to Hieron, as cited by John Calvin in Institutes of the Christian Religion

Christ

“So much to learn!
Old Nature's ways
Of glee and gloom with rapt amaze
To study, probe, and paint – brown earth,
Salt sea, blue heavens, their tilth and dearth,
Birds, grasses, trees – the natural things
That throb or grope or poise on wings.”

Richard Francis Burton (1821–1890) British explorer, geographer, translator, writer, soldier, orientalist, cartographer, ethnologist, spy, lin…

Richard Eugene Burton, Memorial Day, And Other Poems (1897), 'So Much to Learn', p. 8
Misattributed

Way, Nature, Bird, Tree

“I had been painting Kate Moss for a long time, both before the time of her crisis and during it. I felt very strongly for her - she's a hard-working mum and it seemed as if suddenly the world turned against her. Holy water cannot help you now is painted in very warm pretty colours…”

Stella Vine (1969) English artist

Williams-Akoto. "My Home: Stella Vine, artist" http://www.independent.co.uk/life-style/house-and-home/property/my-home-stella-vine-artist-517456.html, The Independent, (2005-11-30) On painting Kate Moss.

World, Water, Time, Help

“If I am lucky, the picture will paint itself”

Julian Trevelyan

Quoted in Insights by Liz rideal, National Portrait Gallery, London 2005 ISBN 1855143631

“The chief distinction in the intellectual powers of the two sexes is shewn by man attaining to a higher eminence, in whatever he takes up, than woman can attain — whether requiring deep thought, reason, or imagination, or merely the use of the senses and hands. If two lists were made of the most eminent men and women in poetry, painting, sculpture, music, — comprising composition and performance, history, science, and philosophy, with half-a-dozen names under each subject, the two lists would not bear comparison. We may also infer, from the law of the deviation of averages, so well illustrated by Mr. Galton, in his work on 'Hereditary Genius,' that if men are capable of decided eminence over women in many subjects, the average standard of mental power in man must be above that of woman. … Thus man has ultimately become superior to woman.”

Charles Darwin book The Descent of Man, and Selection in Relation to Sex

volume II, chapter XIX: "Secondary Sexual Characters of Man", pages 327-328 http://darwin-online.org.uk/content/frameset?pageseq=344&itemID=F937.2&viewtype=image The Descent of Man (1871)

Women, Men, Law, Music

“[I have] all respect for that neoclassicism [of Piet Mondrian ], but it would sacrifices me too much to architecture. That kind of art does indeed fit perfectly in very modern rooms of modern buildings in equally modern cities, but never again a handcart can drive in there and never again someone can speak or think of a white dog cart in the fog. I am longing for a painting that can hang in a modern environment and still have its 'personal' life.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Al mijn respect voor dat neo-klassicisme [van Mondriaan], maar dat offert me teveel aan de architectuur. Dat werk past inderdaad gegoten in zeer moderne vertrekken van moderne gebouwen in even moderne steden maar er kan dan nooit meer een stootkar in rijden en nooit kan nog iemand spreken of denken aan een witte hondenkar in de mist. Ik verlang een schilderij die kan hangen in een moderne omgeving en die toch een ‘eigen’ leven heeft.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, after February 1951; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 133 (translation: Fons Heijnsbroek)
1945 - 1960

Life, Dogs, Art, Thinking

“I used to look in my mind for the unwritten page
if my mind was empty enough I could see it
I didn't paint the plane
I just drew this horizontal line
Then I found out about all the other lines
But I realized what I liked was the horizontal line
Then I painted the two rectangles
correct composition
if they're just right”

Agnes Martin (1912–2004) American artist

1970's, The Untroubled Mind', 1971

“If you could see what these flowers are. [Morandi's remark, circa 1917 - to the writer Raimondi from Bologna, indicating flowers in the corner of a reproduction of a painting by w:El Greco – beneath the feet of angels and saints]). No modern painter has painted flowers like these. Perhaps only Renoir”

Giorgio Morandi (1890–1964) Italian painter

Quote of Morandi; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 48
1925 - 1945

Angels, Flowers

“ Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)”

Colin Cherry (1914–1979) British scientist

See Gombrich in reference 348
On Human Communication (1957), Language: Science and Aesthetics

Books, Color, Communication, Idea

“I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson.”

Ray Harryhausen (1920–2013) American animator

Source: An Animated Life (2003), p. 21

Rage, Time, Animals

“I wanted to photograph this subject because the signs’ shrieking blatancy literally cried out for a visual record. To my mind the faded, yellowing paper and the red paint were not particularly paint, able. In black and white the signs shouted, clamored for attention, in visual anarchy. At the same time, the shrewd business sense which plastered them solid over the entire window area produced, as it were by chance, an esthetic by-product: the whole has homogeneity and variety of texture, simultaneously, which give the picture interest.”

Berenice Abbott (1898–1991) American photographer

New Guide to Better Photography, 1953.

Business, Sense, Chance, Time

“Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked, swapped over, turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor, he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman, and avails himself of a fool′s privileges, which is probably not without significance for sensible people. Old art forms seek to reconstruct reality, total actions unfold within reality itself. Total actions are direct occurrences(direct art), not the repetition of an occurrence, a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 166 (1966/1972)

People, Food, Fools, Art

“I can get excitement watching rain on a puddle. And then I paint it. Now, I admit, there are not too many people who would find that exciting. But I would. And I want life thrilling and rich. And it is. I make sure it is.”

David Hockney (1937) British artist

Interview with Marion Finlay, "Hockney on … politics, pleasure, and smoking in public places" http://www.forestonline.org/output/Page264.asp FOREST Online (28 July 2004) 2000s

Life, People

“As collage technique replaced oil paint, the cathode ray tube will replace the canvas. Someday artists will work with capacitors, resistors, and semiconductors as they work today with brushes, violins and junk. There are 4,000,000 dots per second on one television screen, just think of the variety of images you can get. It's so cool. It's like going to the moon.”

Nam June Paik (1932–2006) American video art pioneer

Manifesto, New York, October 1965, as cited in Jasia Reichardt (1971). The computer in art. p. 95
1960s

Thinking

“Joni uses a lot of alternate tunings; that is, instead of tuning the guitar in the customary way, she tunes the strings to pitches of her own choosing. …Joni will talk compellingly and passionately about alternate tunings for hours, comparing them to different colors that van Gogh used in his paintings.”

Daniel Levitin (1957) American psychologist

This is Your Brain on Music (2006)

Color, Way, Passion

“I do not consider myself a Cubist either because I have come to the conclusion that cubes are not always made for expressing the thought of the brain and of the feeling of the spirit... I capture all these impressions [the visual sensations, Picabia sensed in the modern city] without any hurry to transfer to the canvas. I let them rest in my brain and then, when I'm visited by the spirit of creation, I improvise my paintings just as a musician improvises his music.”

Francis Picabia (1879–1953) French painter and writer

1910's
Source: 'How I see New York', in 'The New York American', New York 30 March 1913, p. 11

Music, Feeling, Sense

“I don't think of my work as calligraphic. Critics also describe Jackson and De Kooning as calligraphic painters but calligraphy has nothing to do with us. It's interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing. People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.”

Franz Kline (1910–1962) American painter

Quote, (1958)
1960's, Talks with Seventeen Artists, 1962

People, Idea, Thinking

“Next, the stalled cars had their windows opaqued with a cheap commercial compound used for etching glass, and slogans were painted on their doors. Some were long: THIS VEHICLE IS A DANGER TO LIFE AND LIMB. Many were short: IT STINKS! But the commonest of all was the universally known catchphrase: STOP, YOU’RE KILLING ME!”

John Brunner book The Sheep Look Up

December “A ROOST FOR CHICKENS”
The Sheep Look Up (1972)

Life, Cars, Universe

“The English are particularised for their partiality to strange sights; uncommon beasts, birds, or fishes, are sure to attract their notice, and especially such of them as are of the monstrous kind; and this propensity of our countrymen is neatly satirised by Shakspeare in the Tempest; where Stephano, seeing Calaban lying upon the stage, and being uncertain whether he was a fish, a beast, or one of the inhabitants of the island, speaks in the following manner: "Were I in England now, as once I was, and had this fish painted, not a holiday fool there but would give me a piece of silver. There would this monster make a man: any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian." Indeed, we may observe that a cow with two heads, a pig with six legs, or any other unnatural production, with proper management, are pretty certain fortunes to the possessors.”

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

pg. xlix
The Sports and Pastimes of the People of England (1801), Public entertainment

Fools, Lying, Bird, Fish

“[In] painting…all sensations are condensed, everyone…with a single glance [has] his soul invaded by the most profound recollections…everything is summed up in one instant. Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sound.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Quote from Gauguin's unfinished essay 'Notes Synthetiques', published in the July / September 1910 issue of ' Vers et Prose' XXII, pp. 51-55, as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 23 Gauguin's essay 'Notes Synthetiques' was written in Pont -Aven in 1888 and left incomplete. His essay was first published in 'Vers et Prose' XXII 1890s - 1910s

Music, Color, Soul, Sense

“We [Hans Arp and Sophie Taeuber ] painted embroidered and made collages. All these works were drawn from the simplest forms and were probably the first examples of concrete art. These works are realities pure and independent with no meaning or cerebral intention. We rejected all mimesis and description, giving free reign to the elementary and spontaneous.”

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

Arp's quote, on the cooperation with his future wife Sophie Taeuber ca. 1916; as quoted in: Abstract Art, Anna Moszynska, Thames and Hudson, London, 1990, p. 65
1910-20s

Art, Reality

“For me, painting means the continuation of dreaming by other means.”

Neo Rauch (1960) German painter

As quoted in "Neo Rauch: ‘For Me, Painting Means the Continuation of Dreaming by other Means’" at the Goethe-Institut (February 2007) http://www.goethe.de/kue/bku/thm/kab/en2085683.htm

Dreams

“I passed by a corner office in which an employee was typing up a document relating to brand performance. … Something about her brought to mind a painting by Edward Hopper which I had seen several years before at the Museum of Modern Art in Manhattan. In New York Movie (1939), an usherette stands by the stairwell of an ornate pre-war theatre. Whereas the audience is sunk in semidarkness, she is bathed in a rich pool of yellow light. As often in Hopper’s work, her expression suggests that her thoughts have carried her elsewhere. She is beautiful and young, with carefully curled blond hair, and there are a touching fragility and an anxiety about her which elicit both care and desire. Despite her lowly job, she is the painting’s guardian of integrity and intelligence, the Cinderella of the cinema. Hopper seems to be delivering a subtle commentary on, and indictment of, the medium itself, implying that a technological invention associated with communal excitement has paradoxically succeeded in curtailing our concern for others. The painting’s power hangs on the juxtaposition of two ideas: first, that the woman is more interesting that the film, and second, that she is being ignored because of the film. In their haste to take their seats, the members of the audience have omitted to notice that they have in their midst a heroine more sympathetic and compelling than any character Hollywood could offer up. It is left to the painter, working in a quieter, more observant idiom, to rescue what the film has encouraged its viewers not to see.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), pp. 83-84.

War, Beauty, Art, Intelligence

“Daberlohn's diagnosis [about the etching she made as his portrait] holds encouragement for Charlotte…. Daberlohn (in his letter) 'In my opinion you are destined to create something above average.'
….'Above average.' She is elated by his letter and really feels quite proud… While beginning to paint the buttercup-strewn meadow where she happens to be sitting, she decides to make his prophecy come true and actually create something 'above average'.”

Charlotte Salomon (1917–1943) German painter

written text with brush, in her paintings JHM no. 4599 https://charlotte.jck.nl/detail/M004599/part/character/theme/keyword/M004599 + 4600 https://charlotte.jck.nl/detail/M004600/part/character/theme/keyword/M004600: in 'Life? or Theater..', p. 482-483 Charlotte Salomon - Life? or Theater?

Feeling

“[referring to his painting 'Everyone Stands under His Own Dome of Heaven' (1971): It is a man in his own universe. It [the painting] was a quotation of, taken out of Robert Musil's novel 'Der Mann ohne Eigenschaften'; how do you translate it in English? 'The Man without qualities', I think – the most important book of the 20th century I would say. So this is a quotation: Jeder Mensch soll nach seine Himmel gucken.... I meant there is no objective truth. So as I discovered later, there is no objective history. There is no history; each human being made its own history – has his own thoughts and his own world. And sometimes two domes touch each other, or cross each other, but everyone is alone with its own illusions and methods..”

Anselm Kiefer (1945) German painter and sculptor

n.p.
Tim Marlow joins Anselm Kiefer to discuss his work' - 2005

Truth, Books, World, History

“My first photo Picture? I was doing large pictures in gloss enamel... One day a photograph of Brigit Bardot fell into my hands, and I painted it into one of these pictures in shades of grey. I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic.... thing that everyone could do.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 43, note 36 : quote on his start with photography

Photo

“I saw my first Henry Darger collage/paintings in the early 1980’s when the tale of Henry’s life was just emerging through rumor and scattered fragments of his book. He lived and died a recluse in Chicago where no one knew of his writings or paintings. There was a folk art gallery in New Orleans that had acquired a small pile of Realms of the Unreal illustrations. I was on tour with REM at the time, Michael Stipe and I visited the gallery where we had a first look at these images of seven little horrified girls pursued by a purple and orange winged cats or evil professors on horseback or resting peacefully under giant sunflowers. I was completely captivated and intrigued.”

Natalie Merchant (1963) American singer-songwriter

Quotes from NatalieMerchant.com

Life, Books, Art, Girl

“On the other hand, I am accused of not finishing my paintings, no matter how much time I spent to my airs. Well, 'finished' in the common sense of the word, they are certainly not! Finishing in that sense would drag the life out of it.”

Jacob Maris (1837–1899) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jacob Maris, in het Nederlands: Daarentegen wordt mij verweten dat mijn schilderijen niet af zijn, hoe ik mijn lucht ook doorwerkt heb. Nu, 'af' in de gewone beteekenis van het woord is mijn werk zeker niet. Door in dien zin het af te maken, zou ik er het leven uithalen.
in Jacob Maris (1837-1899), M. van Heteren and others; as cited in 'Ik denk in mijn materie', in exhibition catalog of Teylers Museum / Museum Jan Cunen), Zwolle 2003, p. 76

Life, Sense, Time

“"The year is 2098", he said, "with 69 billion inhabitants legally registered and approximately another 26 billion in hiding. The average annual temperature has fallen four degrees. In fifteen or twenty years there will be glaciers here. We have no way of averting or halting their advance - we can only keep them secret."
"I always thought there would be ice in hell," I said. "And so you paint the gates with pretty pictures?"”

Stanisław Lem book The Futurological Congress

The Futurological Congress (1971)

Secret, Way, Hell

“This is a dark painting with a bit of violence because I was very affected by Diana's death. I cried all day because I liked her, warts and all. Most of all I liked the way that she wanted to be loved and didn't mind admitting it.”

Stella Vine (1969) English artist

Richard Alleyen, "First blood to Saatchi as a star is born", http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2004/02/24/nsaat24.xml The Daily Telegraph, (2004-02-24) On Hi Paul Can You Come Over, her painting of Princess Diana.

Love, Death, Way

“Every intelligent modern painter carries the whole culture of modern painting in his head.”

Robert Motherwell (1915–1991) American artist

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 22
1950s

Intelligence

“There was one artist who wrote as beautifully as he painted. That was Hokusai - He speaks for all artists, whether they are painters or not. [He wrote]: "I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy three I have at last caught every aspect of nature-birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further. And I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime, and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life."”

Henry Miller (1891–1980) American novelist

Reflections (1981)

Love, Life, Secret, Age

“Painting, an oeuvre, is not such a big deal, it is so unimportant. But that’s precisely what makes it interesting.”

Bram van Velde (1895–1981) Dutch painter

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

“I had just announced for the first time publicly on a radio show in San Francisco that I had done all the Keane paintings and not my ex-husband. And this, um, Bill Flang of the San Francisco Examiner thought that Walter and I should appear in Union Square and have a paint-off to decide who had done the paintings, since I was—said that I had done them. So, he arranged it, and LIFE magazine as there and all the different newspapers and t. v. stations and they, uh—some of them in the audience played "High Noon"—[laughs] And, of course, Walter didn't show up.”

Margaret Keane (1927) American artist

Interviewed https://www.youtube.com/watch?v=oMK6aBSX2QY on The Mike Douglas Show (1972). 1972

Life, Appearance, Time

“This is such a big deal, and my life is so simple. There are very few things — there's love, and work, and family. And I'd like to thank all my families, all the tribes that I come from and, most importantly, my mother Brandy who taught me that all my finger paintings were Picasso's and that I didn't have to be afraid. And, mostly, that cruelty might be very human, and it might be very cultural, but it's not acceptable.”

Jodie Foster (1962) American actor, film director and producer

Oscar Acceptance Speech, 1989 Academy Awards, Best Actress in a Leading Role, The Accused.

Love, Life, Family

“Hindu records of what the “law” of Islam meant to the Hindus are few and far between. But whenever they are available, they confirm the medieval Muslim historians. Gangadevi the wife of Kumar Kampana (died 1374 AD) of Vijayanagara writes as follows in her Madhurãvijayam regarding the state of things in the Madurai region when it was under Muslim rule:
“The wicked mlechchas pollute the religion of the Hindus every day. They break the images of gods into pieces and throw away the articles of worship. They throw into fire Srimad Bhagwat and other holy scriptures, forcibly take away the conchshell and bell of the Brahmanas, and lick the sandal paints on their bodies. They urinate like dogs on the tulsi plant and deliberately pass faeces in the Hindu temples. They throw water from their mouths on the Hindus engaged in worship, and harass the Hindu saints as if they were so many lunatics let large.””

Gangadevi Indian princess and Sanskrit poetess

Goel, S. R. (2001). The story of Islamic imperialism in India.

God, Religion, Law, Dogs

“In the office there are about fifteen people whose attention is directed toward a table covered with the costly fabric [raw cotton]; one man is bent over the table and another is sort of seating on it – the buyer and the broker are discussing a sample. A painting of a vernacular subject, if there is such a thing, and I think by a better hand than most others (a size 40 canvas, I think). I'm planning another less complicated and more surprising yet, better art, in which everyone is in summer dress, the walls white, and a sea of cotton on the tables. (translation based on M. Kay's, in M. Gérin [ed. ] and M. Kay, transl. 'Degas letters', Oxford, 1947, pp. 29-30, no. 2”

Edgar Degas (1834–1917) French artist

Quote in Gegas letter to his friend James Tissot, New Orleans, 18 February 1873; as quoted in 'Impressionism: A Centenary Exhibition', Anne Distel, Michel Hoog, Charles S. Moffett, the Metropolitan Museum of Art, (New York, N.Y.) 1975, p. 99 Degas is referring to his painting 'Cotton Merchants in New Orleans' [Cotton Merchants in New Orleans https://www.harvardartmuseums.org/art/299832, (1873) 1855 - 1875

People, Art, Thinking, Summer

“And I am very happy to have the boat motif because, when I grew up, in summer with my parents we were always in Massachusetts, and I was always by the sea. You know, sometimes little boys love cars, but I had a particular passion for boats, and now I live by the sea. For sure, it is a passage, but it's also very fascinating for lots of things. When you get interested in something you can find out a lot about things. You might meet people who are interested in one subject or another, like they collect palms. I've found people from all over the world who were fanatical about palms, which you wouldn't know unless you were interested in palms. And the sea: because, if you've noticed, the sea is white three quarters of the time, just white – early morning. Only in the fall does it get blue, because the haze is gone. The Mediterranean [where Twombly is living later in his life], at least – the Atlantic is brown – is just always white, white, white. And then, even when the sun comes up, it becomes a lighter white... Not because I paint it white; I'd have painted it white even if it wasn't, but I am always happy that I might have. It's something that has other consciousness behind it.”

Cy Twombly (1928–2011) American painter

Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), pp. 174-175

Love, Life, Happiness, People

“Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here – is – away from the easel – into some sort, some kind of wall, wall painting…”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

“He [ Jackson Pollock ] just jumps in before he knows how to swim. [when Morandi sees paintings of Pollock for the first time]”

Giorgio Morandi (1890–1964) Italian painter

in Morandi 1894 – 1964, published by Museo d'Arte Moderna di Bologna, ed: M. C. Bandera & R. Miracco - 2008; p. 298
1945 - 1964

Time

“.. Since I myself needed a year to discover the significance of this strange work, many of the texts and tunes, particularly in the first paintings, elude my memory and must - like the creation as a whole so it seems to me - remain shrouded in darkness.”

Charlotte Salomon (1917–1943) German painter

Charlotte's 4th introduction page, related to image JHM no. 4155-4 https://charlotte.jck.nl/detail/M004155-d: 'What is man, that thou art mindful..', p. 44 the quote is written in brush, combined with one rough painted figure Charlotte Salomon - Life? or Theater?

Memory

“Eisenhower had about the most expressive face I ever painted, I guess. Just like an actor's. Very mobile. When he talked, he used all the facial muscles. And he had a great, wide mouth that I liked. When he smiled, it was just like the sun came out.”

Norman Rockwell (1894–1978) Armatian

As quoted in A Rockwell Portrait : An Intimate Biography‎ (1978) by Donald Walton, p. 198

Smile, Sun

“Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human.”

Henri Matisse (1869–1954) French artist

1905 - 1910, Notes of a Painter' (1908)

“As you serve others, you can inspire others. I’ve been inspired by the examples of many selfless servants. Winston Churchill, a leader of courage and resolve, inspired me during my Presidency—and, for that matter, in the post-presidency. Like Churchill, I now paint. Unlike Churchill, the painting isn’t worth much without the signature. In 1941, he gave a speech to the students of his old school during Britain’s most trying times in World War II. It wasn’t too long, and it is well-remembered. Prime Minister Churchill urged, 'Never give in… in nothing, great or small, large or petty. Never give in except to convictions of honor and good sense'. I hope you’ll remember this advice. But there’s a lesser-known passage from that speech that I also want to share with you. 'These are not dark days. These are great days. The greatest our country has ever lived; and we must all thank God that we have been allowed, each of us according to our stations, to play a part in making these days memorable in the history of our race'. When Churchill uttered these words, many had lost hope in Great Britain’s chance for survival against the Nazis. Many doubted the future of freedom. Today, some doubt America’s future, and they say our best days are behind us. I say, given our strengths—one of which is a bright new generation like you—these are not dark days. These are great days.”

George W. Bush (1946) 43rd President of the United States

2010s, 2015, Remarks at the SMU 100th Spring Commencement (May 2015)

God, War, World, School

“All my life I have felt most strongly against social distinction of any kind. I have at all time tried to paint to the best of my ability and would only hope that any remembrance of me when I'm am gone will be base on my work.”

L. S. Lowry (1887–1976) British visual artist

Letter of 1967 and 1970 to Prime Ministers Wilson and Heath declining knighthood.L. S. Lowry - A Biography by Shelley Rhode Lowry Press 1999 ISBN 9781902970011.
Other

Life, Hope, Time

“Will ye believe
The wonders of the ocean? how its shoals
Sprang from the wave, like flashing light;.. took wing,
And, twinkling with a silver glitterance,
Flew through the air and sunshine? yet were they
To sight less wondrous than the tribe who swam,
Following like fowlers, with uplifted eye,
Their falling quarry:.. language cannot paint
Their splendid tints! though in blue ocean seen,
Blue, darkly, deeply, beautifully blue,
In all its rich variety of shades,
Suffus'd with glowing gold.”

Robert Southey (1774–1843) British poet

Madoc in Wales http://olivercowdery.com/texts/1805sout.htm#pg001, Part I, Sec. V - 48 (1805). Compare: "'Darkly, deeply, beautifully blue,' As some one somewhere sings about the sky", Lord Byron, Don Juan, canto iv. stanza 110.

Light

“I made the flames lick the surface of the painting in such a way that is recorded the spontaneous traces of the fire. But what is it that provokes in me this pursuit of the impression of fire? Why must I search for its traces? Because every work of creation, quite apart from its cosmic position, is the representation of pure phenomenology – every phenomenon manifests itself of its own accord. This manifestation is always distinct from form, and is the essence of the immediate, the trace of the immediate.”

Yves Klein (1928–1962) French artist

In 1961; p. 67
Klein's quote on making paintings with a flame-thrower
1960 -1964, "Yves Klein, 1928 – 1962, Selected Writings"

Way, Search

“The role of the leader, then, is to paint a picture of that vision in such a way that those he or she is leading will embrace it and make it their own. In that way, all of the energies of the organization are focused on the same objective. That’s when vision happens.”

Don Soderquist (1934–2016)

Don Soderquist “ The Wal-Mart Way: The Inside Story of the Success of the World's Largest Company https://books.google.com/books?id=mIxwVLXdyjQC&lpg=PR9&dq=Don%20Soderquist&pg=PR9#v=onepage&q=Don%20Soderquist&f=false, Thomas Nelson, April 2005, p. 21-22. On Having a Personal Mission and Vision

Way

“I painted only [in pure colours] at Arcueil and at the Luxembourg Gardens.”

Albert Marquet (1875–1947) French artist

As quoted by J. P. Crespelle, The Fauves, Oldbourne Press, London 1962, p. 66
one of the paintings which Marquet painted in 1898 at the Luxembourg Gardens was titled simply 'Le Luxembourg', see: Francois Fosca, Albert Marquet (Paris: Editions Nouvelle Revue Francois, 1922), pl, 16.

“In short it is my concern to emphasize that Gorky is, of all the surrealist artists, the only one who maintains direct contact with nature – sit down to paint before her. Furthermore, it is out of the question that he would take the expression of this nature as an end in itself – rightly he demands of her that she provide sensations that can serve as springboards for both knowledge and pleasure in fathoming certain profound states of mind... Here for the first time nature is treated as a cryptogram. The artist has a code by reason of his own sensitive anterior impressions, and can decode nature to reveal the very rhythm of life, in the discovery of the very rhythm of life.”

André Breton (1896–1966) French writer

Quote of Breton, from Introduction to the exhibition of Gorky's first show', Julien Levy Gallery', March 1945; as quoted in Arshile Gorky, – Goats on the roof, ed. by Matthew Spender, Ridinghouse, London, 2009, p. 258
after 1930

Life, Pleasure, Question, Nature

“I have always been structured. What has changed is the proportions. Now it is eight hours of paperwork and one of painting. I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.”

Gerhard Richter (1932) German visual artist, born 1932

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

Love, Life, Secret, Idea

“Every minute everything is different everywhere. It is all flowing... The duty or beauty of a painting is that there is no reason to do it nor any reason not to. It can be done as a direct act or contact with the moment and that is the moment you are awake and moving. It all passes and is never true literally as the present again leaving more work to be done.”

Robert Rauschenberg (1925–2008) American artist

Quote of Rauschenberg (1961), as cited in Introduction, Roberta Bernstein, from catalog 'The White and Black Paintings'
from a recording of a symposium in 1961, Larry Gagosian Gallery, New York, 1986
1960's

Beauty

“I do not have a comic or tragic period in any real sense. I have always painted dark pictures; always some light pictures. I will probably go on doing so... Orchestral. My work in its entirety is like a symphony in which each painting has its part.”

Clyfford Still (1904–1980) American artist

Gallery Notes, Allbright-Knox Art Gallery, Vol. 24 summer 1961 pp. 9-14; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 197
1960s

Sense, Light, Parting

“But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' ten very recent paintings, twenty-five gouaches and watercolors, also recent, and twenty-eight drawings that span the period from 1910-1934. In the majority of the compositions on canvas I used a sand technique more or less consistently.... but I usually don't distinguish between traditional oil painting, gouache, tempera and watercolor, and I even simultaneously use the various techniques in the same work. What is essential for me is to be able to clearly convey what I want, to recount my dream. / consider both technique and form to be mere instruments of expression, and my stories, furthermore, are not narrative or historical in character, but purely pictorial.”

Wassily Kandinsky (1866–1944) Russian painter

From an interview, 28 July 1935, in the Italian daily newspaper 'Lavoro fascista'; as quoted in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 30
1930 - 1944

Books, Dreams, Drawing

“Who knows how to make love stay? Tell love you are going to the Junior's Deli on Flatbush Avenue in Brooklyn to pick up a cheesecake, and if love stays, it can have half. It will stay. Tell love you want a momento of it and obtain a lock of its hair. Burn the hair in a dime-store incense burner with yin/yang symbols on three sides. Face southwest. Talk fast over the burning hair in a convincingly exotic language. Remove the ashes of the burnt hair and use them to paint a mustache on your face. Find love. Tell it you are someone new. It will stay. Wake love up in the middle of the night. Tell it the world is on fire. Dash to the bedroom window and pee out of it. Casually return to bed and assure love that everything is going to be all right. Fall asleep. Love will be there in the morning.”

Tom Robbins book Still Life with Woodpecker

Still Life with Woodpecker (1980)

Love, World, Making love, Night

“Always when I look at anyone's art, I get flashes of the person. If I walk into a room and there's a painting by Joan Mitchell, I say, "There's Joannie." Or Grace, if it's Grace Hartigan. And to me all art is self-portraits.”

Elaine de Kooning (1918–1989) American painter

Quote in: 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. 1972 - 1989

Art, Personality

“Abstract Expressionism – especially Pollock, not the more academic painters like De Kooning – made the threshold between illusion and the stuff of painting lower, the distance between them closer. Pollock made all things about the picture, all the stuff, actual. Taking the canvas off the stretcher, putting it on the floor, made it more real. Mixing up different kinds of paint, getting it to stain in, was getting at a kind of materiality.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 14
Conversation with Karen Wilkin' (1986-1988)

“I have to chuckle sometimes when I am painted as "hard-nosed." In truth, our Justice Department wasn't nearly as aggressive as Roosevelt's. And our respect for civil liberties was far more extensive than the response following Pearl Harbor. Yes, we were tough, but we always operated within the law; it was never our policy or practice to detain any noncombatant without charges. In our conduct, we never approached the limits of the law as closely as Roosevelt did.”

John Ashcroft (1942) American politician

Source: Never Again: Securing America and Restoring Justice (2006), p. 178-179

Truth, Justice, Law

“There is only the present. A painting is an instant of time that has escaped oblivion.”

Bram van Velde (1895–1981) Dutch painter

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

Time

“.. so before I died I wanted to paint a large canvas that I had worked out in my head, and all month long I worked [on Tahiti] day and night at fever pitch... It's all done without a model.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

late quote about the start of his famous large painting 'Where do we come from? What are we? Where are we going'
Source: 1890s - 1910s, The Writings of a Savage (1996), pp. 159-160: in a letter from Tahiti to a friend, 1898

Night

“Man's hope can paint a purple picture, can transform a soaring vulture into a noble eagle or a moaning dove.”

Ralph Ellison book Invisible Man

Source: Invisible Man (1952), Chapter 5.

Hope

“I worked for months on this painting [title 'The Stone-wheelbarrow of C. Adema', 1977], for instance that well-bucket on the wheelbarrow I painted a twenty times or more, and it is constructed exactly as nature has shaped it. I want to make it harder and harder for myself. 'That's how it is' doesn’t exist for me. Deepening, that's what it is all about. My wish is to make in due time a small painting in which I can hardly discover any longer that it is painted, that it is just there, like that. Just something very simple.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Maandenlang heb ik aan dit schilderij [titel: 'De steenkruiwagen van C. Adema', 1977] gewerkt en die putemmer bijvoorbeeld op de kruiwagen, heb ik wel twintig keer geschilderd en is precies zo opgebouwd als de natuur hem gevormd heeft. Ik wil het mezelf steeds moeilijker maken. Zo kan het wel – bestaat niet voor mij. Verdieping, daar gaat het om. Ik wil nog eens een keer een schilderijtje zo maken, dat ik haast niet meer kan zien dat het geschilderd is, dat het er gewoon is, zo, zonder meer. Iets heel eenvoudigs.
Source: Jopie Huisman', 1981, p. 80

Nature, Time

“I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition... I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey... I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel.... joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke.”

Max Pechstein (1881–1955) German artist

Quote of Pechstein in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32-33

Art, Feeling

“Just as soon as the great and glorious Revolution broke out [1918 - after World War 1. ] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.”

Kurt Schwitters (1887–1948) German artist

In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.
1920s

War, World, Art, Color

“I am trying to intensify my feeling for the organic rhythm in all things, trying to establish a pantheistic contact with the tremor and flow of blood in nature, in animals, in the air – trying to make it all into a picture, with new movements and with colours that reduce our old easel paintings to absurdity.”

Franz Marc (1880–1916) German painter

Quote in Marc's letter to the publisher Reinhard Piper, 1908, as cited in Letters of the great artists – from Blake to Pollock, ed. Richard Friedenthal, Thames and Hudson, London, 1963, p. 207
1905 - 1910

Feeling, Nature, Animals

“As an Indian, I remained convinced that the bhav or the feeling of a painting is important, and these put together, can make a good artistic expression. This is what I tried to do during my years in France.”

S. H. Raza (1922–2016) Indian artist

This is a sum of all my experiences: SH Raza

Feeling

“A print of the painting, The Prayer At Valley Forge, depicting George Washington on bended knee, praying in the hard snow at Valley Forge, hangs over the desk in my office. If the practice of witchcraft, such as is allowed now at Fort Hood, is permitted to stand, one wonders what paintings will grace the walls of future generations.”

Bob Barr (1948) Republican and Libertarian politician

As quoted in "The Right of Wiccans to Practice in the Military" http://www.religioustolerance.org/burn_aw2.htm (20 May 1999), ReligiousTolerance. 1990s, 1999

Future

“Nature moves me deeply; I paint nature (now) only in a different way..”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of P. Mondrian, 1919-20; as cited in Gedurende een wandeling van buiten naar de stad. Dialoog en Trialoog over de Nieuwe Beelding, ed. H. Henkels; Haags Gemeentemuseum Den Haag 1986, p. 24
1910's

Way, Nature

“I paint from the top down. From the sky, then the mountains, then the hills, then the houses, then the cattle, and then the people.”

Grandma Moses (1860–1961) American artist

As quoted in Tampa Bay Magazine‎ (January/February 2008), p. 205

People, Mountain, Housing

“But I find, because of modern painting, that things which couldn't be seen in terms of painting, things you couldn't paint.... it is not that you paint them, bit is the connection. I imagine that Cézanne, when he painted a ginger pot with apples, must have been very grotesque in his day, because a still life was something set up of beautiful things. It may be very difficult, for instance, to put a Rheingold bottled beer on the table and a couple of glasses and a package of Lucky Strike [cigarets]. I mean, you know, there are certain things you cannot paintat a particular time, and it takes a certain attitude how to see those things, in terms of art.”

Willem de Kooning (1904–1997) Dutch painter

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 54
1960's

Life, Beauty, Art, Imagination

“our Goddess [how painting is going] is sometimes so erratic, just when you want to speak to her, she is hiding and if you did not immediately think of her, she comes to give hanks incessantly and is so kind, anyway - we shall see.. (translation from original Dutch, Fons Heijnsbroek, 2018)”

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

(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) onze Godin [hoe het schilderen verloopt] is soms zoo grillig, juist als je haar wil spreken, houd zij zich schuil en als je niet direct aan haar dacht, komt ze onophoudelijk hándjes geven en is zoo vriendelijk, enfin - wij zullen zien.. In a letter to Willem Witsen, from The Hague, 28 Dec. 1884?]; original copy from website DBNL https://www.dbnl.org/tekst/wits009brie01_01/wits009brie01_01_0025.php; location of resource: Koninklijke Bibliotheek, Den Haag: no. KB75 C51 1880's

Thinking

“The paintings got sculptural because the forms got more complicated. I've learned to weave in and out.”

Frank Stella (1936) American artist

Source: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28.

Learning

“No one wants my painting because it is different from other people's — peculiar, crazy public that demands the greatest possible degree of originality on the painter's part and yet won't accept him unless his work resembles that of the others!”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Source: 1890s - 1910s, The Writings of a Savage (1996), p. 205: in a letter to Ambroise Vollard, January 1900

People, Parting

“The significance of a work of art is determined then by the quality of its growth. This involves intangible forces inherent in the process of development. Although these forces are surreal (that is, their nature is something beyond physical reality), they, nevertheless, depend on a physical carrier. The physical carrier (commonly painting or sculpture) is the medium of expression of the Surreal. Thus, an idea is communicable only when the surreal is converted into material terms. The artist’s technical problem is how to transform the material with which he works back into the sphere of the spirit.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40
Search for the Real and Other Essays (1948)

Art, Idea, Nature, Problem

“I sketched a young mother with her child at her breast, sitting in a smoky hut. If only I could someday paint what I felt then. A sweet woman, an image of charity. She was nursing her big, year-old bambino... And the woman gave her life and her youth and her power tot the child in utter simplicity, unaware that she was a heroine.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1897; as quoted in: Witzling (1991, p. 193) and Delia Gaze (2001) Concise Dictionary of Women Artists, p. 489
1897

Life, Youth

“We separate color and drawing because we have to. But nature doesn't. She doesn't give something a shape, for coloring it only afterwards. Form and color are inherent properties of the object that we have got as thing to paint. If we neglect one of both, we only give half.”

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:) Wij scheiden kleur en teekening af, omdat wij dat wel moeten. Maar de natuur doet dat niet. Zij geeft niet iets een vorm, om het daarna te kleuren. Vorm en kleur zijn inhaerente eigenschappen van het voorwerp, dat ons te schilderen is gegeven. Verwaarloozen wij een van beide, dan geven wij slechts de helft. Quote of Roelofs, in Elsevier's geïllustreerd maandschrift..., Oct. / Nov. 1891; as cited in an excerpt in the RKD Archive https://rkd.nl/explore/excerpts/219, The Hague undated quotes

Color, Nature, Drawing

“I was making very aggressive provocative paintings. Whether the Rachel paintings, or the Diana paintings, I've sensed over the three or four years that I've been in getting press attention, I've sensed that it has not been that long since the woman painter was not allowed in the Royal Academy, and not allowed to paint nude men, and thee is such a huge body of work that men have made, versus the small body of work made by women, that I am not surprised to get this response.”

Stella Vine (1969) English artist

Women, Men, Sense

“Early findings from the most comprehensive large study ever undertaken of the relationship between diet and the risk of developing disease are challenging much of American dietary dogma. The [Cornell–Oxford] study, being conducted in China, paints a bold portrait of a plant-based eating plan that is more likely to promote health than disease. The study can be considered the Grand Prix of epidemiology.”

Jane E. Brody (1941) American writer

"Huge Study Of Diet Indicts Fat And Meat", in The New York Times (8 May 1990) http://www.nytimes.com/1990/05/08/science/huge-study-of-diet-indicts-fat-and-meat.html

Health, Disease, Study

“A time will come when the picture will no longer be enough. Its immobility will become an archaism with the vertiginous movement of human life. The eye of man will perceive colours as feelings within itself. Multiplied colours will not need form to be understood and paintings will be swirling musical compositions of great coloured gases, which, on the scene of a free horizon, will move and electrify the complex soul of a crowd that we cannot yet conceive of.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Quote in his lecture at the Associazione Artistica Internationale, Rome May 1911, Boccioni's lecture 'La Pittura Futurista', 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55.
1911

Life, Music, Feeling, Soul

“A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past.”

George Grosz (1893–1959) German artist

In his autobiography, 1946, p. 270; as quoted on Wikipedia: George Grosz

Past, Parting

Quotes about painting page 23

Quotes about painting
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