Quotes about painting
page 5

“Mo could paint pictures in the empty air with his voice alone.”

Cornelia Funke Inkheart trilogy

Source: Inkheart

“I imagine a line, a white line, painted on the sand and on the ocean, from me to you.”

Jonathan Safran Foer book Everything Is Illuminated

Source: Everything Is Illuminated

Imagination

“I faced the gaudy sunflower on her canvas bag -- it looked hand-painted and at last my eyes fell into hers. I said, 'Thanks for the card.' Her smile put the sunflower to shame. She walked off.”

Jerry Spinelli book Stargirl

Source: Stargirl

Smile

“Painting something that defies the law of the land is good. Painting something that defies the law of the land and defies the law of gravity at the same time is really good.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Existencilism (2002)
Source: Wall and Piece

Law, Time

“Watching television is like taking black spray paint to your third eye.”

Bill Hicks (1961–1994) American comedian

“When I paint, the Sea Roars
Others Splash about in the bath”

Salvador Dalí (1904–1989) Spanish artist

Sea

“The heart is an artist that paints over what profoundly disturbs it, leaving on the canvas a less dark, less sharp version of the truth.”

Dean Koontz book Forever Odd

Source: Forever Odd

Truth, Heart

“I'll go to the south of Sicily in the winter, and paint memories of Arles – I'll buy a piano and Mozart me that – I'll write long sad tales about people in the legend of my life – This part is my part of the movie, let's hear yours”

Jack Kerouac book Tristessa

Source: Tristessa

Life, People, Sadness, Memory

“If you don't like the scene you're in, if you're unhappy, if you're lonely, if you don't feel that things are happening, change your scene. Paint a new backdrop.”

Leo Buscaglia (1924–1998) Motivational speaker, writer

Feeling, Change

“I'll paint you moments of gold, I'll spin you Valentine evenings…”

David Bowie (1947–2016) British musician, actor, record producer and arranger

“Reality has become so intolerable, she said, so bleak, that all I can paint now are the colors of my dreams.”

Azar Nafisi book Reading Lolita in Tehran

Source: Reading Lolita in Tehran

Dreams, Color, Reality

“But what is Hope? Nothing but the paint on the face of Existence; the least touch of truth rubs it off, and then we see what a hollow-cheeked harlot we have got hold of.”

George Gordon Byron (1788–1824) English poet and a leading figure in the Romantic movement

Truth, Hope

“With her own hand she'd painted herself into a corner, and then out of the picture altogether.”

Jhumpa Lahiri book The Lowland

Source: The Lowland

“Speak softly, but carry a big can of paint.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Source: Wall and Piece

“Adrian: Do you smell that?"
Sydney: “I smell the paint, and… wait… is that pine?”
Adrian: “Damn straight. Pine-scented cleaner. As in, I cleaned. With these hands, these hands that don’t do manual labor.”

Richelle Mead Bloodlines

Source: Bloodlines

Waiting

“A pig painted gold is still a pig.”

Robert Jordan The Great Hunt

Matrim Cauthon
(15 November 1990)
Source: The Great Hunt

“I think that I still have it in my heart someday to paint a bookshop with the front yellow and pink in the evening… like a light in the midst of the darkness.”

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

Thinking, Light, Heart

“The discipline of creation, be it to paint, compose, write, is an effort towards wholeness.”

Madeleine L'Engle (1918–2007) American writer

Source: Walking on Water: Reflections on Faith and Art

Effort

“… lend your ears to music, open your eyes to painting, and … stop thinking! Just ask yourself whether the work has enabled you to “walk about” into a hitherto unknown world. If the answer is yes, what more do you want?”

Wassily Kandinsky (1866–1944) Russian painter

World, Music, Thinking

“I wanted to wear the mantle and the pearls. I wanted to know the man who painted her like that.”

Tracy Chevalier book Girl with a Pearl Earring

Source: Girl with a Pearl Earring

“Destroying rainforest for economic gain is like burning a Renaissance painting to cook a meal.”

Edward O. Wilson (1929) American biologist

Cooking

“Moonlight is sculpture; sunlight is painting.”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

1838
Notebooks, The American Notebooks (1835 - 1853)

“Sometimes, dear brother, I know so well what I want. I am quite able to do without God, both in my life and in my painting, but what I cannot do without, unwell as I am, is something greater than myself, which is my life, the power to create.”

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

Life, God

“In the center was a tiny handprint in red paint.”

Jessica Bird (1969) U.S. novelist

Source: Lover Reborn

“Her freckles were orange, as if somebody had spray-painted her face with liquid Cheetos.”

Rick Riordan book The Lightning Thief

Source: The Lightning Thief

“A writer should write with his eyes and a painter paint with his ears.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

What Are Masterpieces and Why Are There So Few of Them (1936), Afterword of a later edition

“"I guess this is a bad time to mention I hung a dummy and painted Seneca Crane's name on it," I say.”

Suzanne Collins book Catching Fire

Katniss, p. 241
Source: The Hunger Games trilogy, Catching Fire (2009)

Time

“Leo had wanted to paint a giant message on the bottom of the hull-WASSUP? with a smiley-face-but Annabeth had vetoed the idea.”

Rick Riordan The Mark of Athena

Source: The Mark of Athena

Idea

“I experience a period of frightening clarity in those moments when nature is so beautiful. I am no longer sure of myself, and the paintings appear as in a dream.”

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

Beauty, Dreams, Nature, Appearance

“Sometimes artist like to catch themselves looking out, let the world see them for once. It's a signature. This one is a very bold one. But this is also a witnessing. We want to remember, and we want to be remembered. That's why we paint.”

Maureen Johnson book 13 Little Blue Envelopes

Source: 13 Little Blue Envelopes

World

“A painting in a museum hears more ridiculous opinions than anything else in the world.”

Edmond de Goncourt (1822–1896) French writer

World

“A painting is more than the sum of its parts.”

Wendelin Van Draanen Flipped

Source: Flipped

Parting

“Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.”

George Bernard Shaw (1856–1950) Irish playwright

“In case you still haven't figured it out, he loves you. Your tiger will be back in the morning, and you can thank me anytime. Now, do I have to paint another picture for you, or do you think you can take it from here by yourself without screwing up?”

Susan Elizabeth Phillips (1948) American writer

Source: Kiss an Angel

Love, Thinking

“I did not know how to paint or even what to paint, but I knew I had to begin.”

Margaret Atwood (1939) Canadian writer

Source: CAT'S EYE.

“Live a balanced life — learn some and think some and draw and paint and sing and dance and play and work every day some.”

Robert Fulghum book All I Really Need to Know I Learned in Kindergarten

All I Really Need to Know I Learned in Kindergarten (1986)

Life, Thinking, Learning, Singing

“My mother began to go crazy. Not in a 'Let's paint the kitchen red!' sort of way. But crazy in a 'gas oven, toothpaste sandwhich, I am God' sort of way.”

Augusten Burroughs book Running with Scissors

Source: Running with Scissors

God, Way

“Painting, in fact, is nothing else much than a tree, a man, or any other object, reflected in the water. The distinction between sculpture and painting, is as great as between the shadow and the substance.”

Benvenuto Cellini (1500–1571) Florentine sculptor and goldsmith

La Pittura non è altro, che o albero o uomo o altra cosa, che si specchi in un fonte. La differenza, che è dalla Scultura alla Pittura è tanta, quanto è dalla ombra e la cosa, che fa l'ombra.
Letter to Benedetto Varchi, January 28, 1546, cited from G. P. Carpani (ed.) Vita di Benvenuto Cellini (Milano: Nicolo Bettoni, 1821) vol. 3, p. 185; translation from Thomas Nugent (trans.) The Life of Benvenuto Cellini, a Florentine Artist (London: Hunt and Clarke, 1828) vol. 2, p. 265.

Tree, Water

“Is this really true? If we take an average day in the life of the average man we seem to see very little evidence of concern with the sciences and the arts. The average man gets up, goes to work, eats his meals, reads the newspapers, watches television, goes to the cinema, goes to bed, sleeps, wakes up, starts all over again. Unless we happen to be professional scientists, laboratory experiments and formulae have ceased to have any meaning for most of us; unless we happen to be poets or painters or musicians—or teachers of literature, painting, and music—the arts seem to us to be only the concern of schoolchildren. And yet people have said, and people still say, that the great glories of our civilisation are the scientists and artists. Ancient Greece is remembered because of mathematicians like Euclid and Pythagoras, because of poets like Homer and dramatists like Sophocles. In two thousand years all our generals and politicians may be forgotten, but Einstein and Madame Curie and Bernard Shaw and Stravinsky will keep the memory of our age alive.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, English Literature: A Survey for Students (1958, revised 1974)

Life, People, Age, Art

“We do, to what extent of freedom we have earned or are allowed by others and ourselves, what we most want to do. We say - speak, paint, carve, write, express ourselves… as we damn please. And in both the doing of things and the talking about them - which together seem to me to sum up life - we so crave freedom or liberty or whatever one may choose to call it as to justify our Declaration's romantically terming it an unalienable right of Man, bestowed on Man by his Creator.”

Rockwell Kent (1882–1971) American artist

This Is My Own, p. 130 (1940)

Life, Freedom

“As a means of expression, painting must deliver universally valid statements, make allegorical reflections on life, and create new mythologies.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

Life, Universe

“Ah, deeply the Minstrel has felt all he sings,
Every passion he paints his own bosom has known;
No note of wild music is swept from the strings,
But first his own feelings have echoed the tone.”

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

(27th April 1822) The Poet
4th May 1822) Sappho see The Vow of the Peacock (1835
The London Literary Gazette, 1821-1822

Music, Feeling, Passion, Singing

“It was in 1947 that the idea of a conscious monochrome vision came to me... Pure, existential space was regularly winking at me, each time in a more impressive manner, and this sensation of total freedom attracted me so powerfully that I painted some monochrome surfaces just to 'see', to 'see' with my own eyes what existential sensibility granted me; absolute freedom! But each time I could neither imagine or think of the possibility of considering this as a painting, a picture, until the day when I said: Why not?”

Yves Klein (1928–1962) French artist

Source: before 1960, "Yves Klein, 1928 – 1962, Selected Writings", p. 15

Imagination, Idea, Thinking, Freedom

“In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.”

Guity Novin (1944) artist

Source: Ayandegan (1973), p. 4

Color, Question, Change, Time

“Value differences in painting always cut in; color differences always go side by side. Laterally. Color differences can illustrate three dimensional form, but using color in terms of hue belongs more properly to painting than modelling with dark and light [as in sculpting] does.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 22
Conversation with Karen Wilkin' (1986-1988)

Color, Light

“Get it down quickly, don't worry about the background. Just go for the tonal values. You see? When you look at it, and above all when you see how to render it as you see it, thats is, in such a way that its make the same impression on the viewer as it does on you, you don't look for, you don't see the lines on the paper over there, do you? And then, when you look at the whole thing you don't try to count the scales on the salmon, of course you don't. You see them as little silver pearls against grey and pink – isn't thats right? – look at the pink of the salmon, with the bone appearing white in the centre and then grays, like the shades of mother of pearl. And the grapes, now do you count each? No, of course not. What strikes you is their clear, amber colour and the bloom which models the form by softening it. What you have to decide with the cloth is where the highlights come and then the planes which are not in the direct light. Halftones are for the magasin pittoresque engravers. The folds will come by themselves if you put them in the proper place. Ah! M. Ingres, there's the man! We're all just children. There's the one who knew how to paint materials! Ask Bracquemond [Paris' artist and print-maker]. Above all, keep your colours fresh. [instructing his new protegee, the Spanish young woman-painter Eva Gonzales, circa 1869]”

Edouard Manet (1832–1883) French painter

Manet, recorded by Philippe Burty, as cited in Manet by Himself, ed. Juliet Wilson-Bareau, Little Brown 2000, London; p. 52
1850 - 1875

Children, Way, Light, Appearance

“The one art that is abstract and pure enough to have the one problem and possibility, in our time and timelessness, of the 'one single grand original problem' is pure abstract painting. Abstract painting is not just another school or movement or style but the first truly unmannered and untrammeled and un-entangled, styleless, universal painting. No other art or painting is detached or empty or immaterial enough.”

Ad Reinhardt (1913–1967) American painter

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 157

School, Art, Problem, Universe

“For me, Still's pictorial dramas are an extension of the Greek Persephone myth. As he himself has expressed it, his paintings are 'of the Earth, the Damned, and of the Recreated'. Every shape becomes an organic entity, inviting the multiplicity of associations inherent in all living things. To me they form a theogony of the most elementary consciousness, hardly aware of itself beyond the will to live – a profound and moving experience. [in the catalogue introduction for the first one-man-show of Clyfford Still]”

Mark Rothko (1903–1970) American painter

in Art of this Century, February 12 – March 2, 1946, Peggy Guggenheim Papers on the work of Clyfford Still; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 203
1940's

“On the rock stars: Rock stars don’t talk to each other. They’re too important to talk to another one. They’ve all got their own little palace, their own universe, of which they are the head. So how can they possibly go to somebody else’s universe? They can’t handle it. I will one day write the book that shows just how massive some of these egos are. Because I was a slow success, I was meeting people socially whose records I had at home, who were now talking to me on a what-strings-do-you-use level. And very few of them have not disappointed. [Pink Floyd’s] Dave Gilmour is the only one that [hasn’t disappointed]. That paints everyone else as a cunt. Which they are. But Gilmour is fabulous.”

Chris Rea (1951) English singer-songwriter

Henry Yates (2015 December 1) " An Interview With The Straight-Talking, No-F**ks-Given Chris Rea http://teamrock.com/feature/2015-12-01/chris-rea-straight-shooter" by TeamRock 2015

People, Books, Disappointment, Home

“I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling. I begin with shapes and colors which are not related internally nor to the external world; I work without images. Ultimate unifications come about through modulations of the surface by innumerable trials and efforts. The final picture is the process arrested at the moment when what I was looking for flashes into view.”

Robert Motherwell (1915–1991) American artist

Cconversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 94
after 1970

World, Color, Feeling, Effort

“Your quicksilver declaiming eye
Had frozen to the stare of a straight line
Which only saw goals painted in its beam
And made an artificial darkness all around
Which thickened into Allies.”

Stephen Spender (1909–1995) English poet and man of letters

"Napoleon In 1814"
The Still Centre (1939)

“Because I "needed" them for school I had previously extorted a chemistry set, a soldering iron a magnifining glass, a tape recorder, a fountain pen, a Stanley knife, a compass, a torch, a set of oil paints, a speedometer for my bike, some sea monkeys, an Electra set, a halliwell's, a subscription to weapons and warfare and a ticket to the opening night of the Hamilton film festival. I'm sure if I'd claimed I needed one for biology she'd have hooked me up with a prostitute.”

Tony Martin (comedian) (1964) New Zealand comedian and writer

a nest of occasionals (book).

School, Sea, Night

“Whatever is valuable in painting is precisely what one is incapable of talking about.”

Georges Braque (1882–1963) French painter and sculptor

two quotes by Braque, in 'Les Problèmes de la Peinture', interview with Gaston Diehl Paris 1945
1921 - 1945

“The average "educated" American has been made to believe that, somehow, the United States must lead the world even though hardly anyone has any information at all about those countries we are meant to lead. Worse, we have very little information about our own country and its past. That is why it is not really possible to compare a writer like Howells with any living American writer because Howells thought that it was a good thing to know as much as possible about his own country as well as other countries while our writers today, in common with the presidents and paint manufacturers, live in a present without past among signs whose meanings are uninterpretable.”

Gore Vidal (1925–2012) American writer

"William Dean Howells" (1983)
1980s, At Home (1988)

World, Education, Past, Country

“pinkish and bluish draperies on neutral grey grounds and black cypresses…… The red of Jeptha's dress…… some reddish brown, some slightly pinkish…… Graduated blue sky…… the ground at the front a grey violet shadow… Look for some turquoise in the blue.(Degas' working note about choosing colors for his future painting 'The Daughter of Jeptha')”

Edgar Degas (1834–1917) French artist

Quote from Degas' working notes; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 34
quotes, undated

Color, Future, Daughters

“Man is not supposed to make life. Only God can make a tree. Why should you make a living organism? You should make images of living organisms. It seems presumptuous to attempt to make a thing which breathes and pulsates right there by itself. It's unnatural. What's inhuman about it is, the human way to create, I think, the way we see, from part to part. You do this and then you do that, then you do that and that. Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where even though you naturally have to paint, after all a painting is only a painting, the painting is always saying, what do you want from me, I can only be a painting, you have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point That's some kind of a leap.... I'm describing the process of painting.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 68/69

Life, God, Way, Idea

“With chemical film, it was possible to alter photographs, but you had to be an expert. That's not true any more. The LA Times fired a photographer at the beginning of the Iraq War for editing two shots together. Photography is crumbling. Certainly it is for the newspapers a bit now, isn't it? There will be painting again, absolutely!”

David Hockney (1937) British artist

Interview with Martin Gayford, " 'Photography is crumbling,' " http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/05/18/bahock18.xml The Telegraph, (18 May 2004) 2000s

War, Time

“I have been working with silicone for years. While still studying, I painted on unusual materials, for example on a soft felt. I like material that easily surrenders – you can tame them and "go out" to the third dimension, and at the same time sanctify something that is considered ordinary. Once, I painted on sponges over twenty centimeters long, which create a great illusion of sandstone.”

Tomasz Vetulani (1965) Polish artist

Tomasz Vetulani o Holandii, niskim kraju http://www.nto.pl/apps/pbcs.dll/article?AID=/20110605/REPORTAZ01/762330357, nto.pl, 5 June 2011 (in Polish)

Study, Time

“Moonlight on canvas, midnight and wine,Two shadows starting to softly combine.
The picture they're painting
Is one of the heart;
And to those who have seen it,
It's a true work of art.Oh, the red strokes,
Passions uncaged;
Thundering moments of tenderness rage.
Oh, the red strokes,
Tempered and strong (Fearlessly drawn),
Burning the night like the dawn.”

Garth Brooks (1962) American country music artist

The Red Strokes, written by Jim Garver, Lisa Sanderson, Jenny Yates, and G. Brooks.
Song lyrics, In Pieces (1993)

Strong, Rage, Passion, Wine

“I had innumerable visions at that time [c. 1903]; wherever I looked, Nature was alive, the sky, the clouds, on every stone and among the branches of the trees, everywhere my creatures stirred and lived their still or wild, lively lives, arousing my excitement and crying out to be painted.”

Emil Nolde (1867–1956) German artist

1900 - 1920

Nature, Tree, Time, Cry

“It is known that Whistler when asked how long it took him to paint one of his "nocturnes" answered: "All of my life." With the same rigor he could have said that all of the centuries that preceded the moment when he painted were necessary. From that correct application of the law of causality it follows that the slightest event presupposes the inconceivable universe and, conversely, that the universe needs even the slightest of events.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

"Gauchesque Poetry"
Discussion (1932)

Life, Law, Universe

“The observer is a prince who enjoys his incognito everywhere. The lover of life makes the world his family, just as the lover of the fair sex devises his family from all discovered, discoverable and undiscoverable beauties; as the lover of pictures lives in an enchanted society of painted dreams on canvas.”

Charles Baudelaire Le Peintre de la vie moderne

L'observateur est un prince qui jouit partout de son incognito. L'amateur de la vie fait du monde sa famille, comme l'amateur du beau sexe compose sa famille de toutes les beautés trouvées, trouvables et introuvables; comme l'amateur de tableaux vit dans une société enchantée de rêves peints sur toile.
III: "L'artiste, homme du monde, homme des foules et enfant"
Le peintre de la vie moderne (1863)

Life, World, Family, Beauty

“I am primarily painting from photographs these days (from illustrated magazines but also from family photos), in a sense this is a stylistic problem, the form is naturalistic, even though the photograph is not nature at all but a prefabricated product (the “second-hand world” in which we live), I do not have to intervene artistically with style, since the stylization (deformation in form and color) contributes only under very particular circumstances toward clarifying and intensifying an object or a subject (generally stylization becomes the central problem which obscures everything else (object, subject), it leads to an unmotivated artificiality, an untouchable formalist taboo.”

Gerhard Richter (1932) German visual artist, born 1932

In Richter's letters from Düsseldorf, 19 July 1963 - to two artist friends, Helmut and Erika Heinze
1960's

World, Family, Color, Photo

“With this new tendency [of Orphism] the Cubists dubbed Impressionism of forms according to Appolinaire, is entering a final and glorious phase:.. Orphism, pure painting, simultaneity. And there you have it, as many obvious plagiarisms of what has formed, from its earliest appearances, the essence of Futurist painting and sculpture…. But we insist on sorting things out. Orphism [initiated by former Cubist artist Robert Delaunay as an colorful alternative for strict Cubism ], let us say it right away, is just an elegant masquerade of the basic principles of Futurist painting. This new trend simply illustrates the profit that our French colleagues managed to driver from our first Futurist exhibition in Paris.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni's critical art quote to Orphism and simultaneity pictures Orphism, as alternative concept for Cubism as a soft version of Futurist painting; in 'Les futurists plagues en France', Boccioni, in 'Lacerba', Florence 1, no. 7, 1 April 1913
1913

Color, Appearance

“I knew that I must paint not what I saw, but only what was in me, in my soul. Figuratively speaking, it was like this: In my heart I felt as if there were an organ, which I had to sound. And nature, which I saw before me, only prompted me. And that was a key that unlocked this organ and made it sound... They are songs without words.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938
Source: 1936 - 1941, Life Memories' (1938), p. 186

Soul, Nature, Heart

“To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It’s not easily done. I am not able to do “one, two, a painting.” I try to do it very quickly, but it doesn’t work with me. I simply can’t do it. Very often people look and say, 'Ah, fantastic! That’s a beautiful painting.'”

Per Kirkeby (1938–2018) Danish artist

But the moment they are out the door I start working on it. I rework it.
In a talk with Kosinski, before 'Per Kirkeby at the Phillips', in The Phillips Collection, Washington D.C. January, 2013
Kirkeby spoke to exhibition co-curator Dorothy Kosinski about the necessity of time in the development of a painting.
1995 and later

People, Beauty, Time

“Another stroll along the quays with Julie asking questions all the time. We stood for a long time examining the sun and the planet at a mapmaker's.... There in the Tuileries Gardens.... sitting down I began to ponder over my painting of the garden, watching the shadows on the sand and on the roof of the Louvre, and trying to find the relationship between light and shade. Julie saw pink in the light and purple in the shadows.”

Berthe Morisot (1841–1895) painter from France

a note of Berthe Morisot, June, 1887; from 'Carnet Beige', in Morisot Enchantment, Philippe Huisman, La Bibliotheque des Arts; Lausanne; Paris, 1962. p. 26
about a walk with daughter Julie, 8 years old, through Paris
1881 - 1895

Question, Light, Time, Sun

“It is not possible to find a landscape, which if painted precisely as it is, will not make an impressive picture. No one knows, till he has tried, what strange beauty and subtle composition is prepared to his hand by Nature.”

John Ruskin book Modern Painters

Volume III, part V, chapter II (1856).
Modern Painters (1843-1860)

Beauty, Nature

“Well, I think my paintings are fast enough already…”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian, 1930 reacting on Alexander Calder, as cited by by Mondrian's recent biographer Hans Janssen, of the Gemeentemuseum in The Hague; as cited by Alastair Sooke, in 'Mondrian - the Joy of Being Square'; BBC culture, 10 July 2017 http://www.bbc.com/culture/story/20170710-mondrian-the-joy-of-being-square In 1930, the American sculptor Alexander Calder, (inventor of the mobile / moving sculpture) visited Mondrian in his studio in Paris. Calder said 'Maybe you should take all these red, yellow and blue elements off the canvas and let them hang in the air, so they can move'. 1930's

Thinking

“Of course painting is ridiculous. But it’s the only way I've got to get closer to life.”

Bram van Velde (1895–1981) Dutch painter

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

Life, Way

“The period during the First World War was a very exciting time in Paris, with artists, philosophers, and poets continually discussing and arguing about the work with which they were involved. Although I myself am little concerned with abstract theory, I certainly do think of cubism as a form of emancipation essentially different from artistic movements that had preceded it. Thus, impressionism, while it was a revolutionary technique, was still an essentially naturalistic movement concerned with a precise examination of the nature of light and the effect of changing lights on representational scenes and objects. Cubism did add a new dimension to painting and sculpture, a dimension that changed our way of looking at nature and the work of art.”

Jacques Lipchitz (1891–1973) American and French sculptor

Source: Jacques Lipchitz: My life in sculpture, 1972, p. 40

War, World, Art, Way

“The essence of modernism lies in the use of the characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Modernism used art to call attention to art. The limitations that constitute the medium of painting - the flat surface, the shape of the support, the properties of the pigment - came to be regarded as positive factors, and were acknowledged openly.”

Clement Greenberg (1909–1994) American writer and artist

1960s, Modernist Painting (1960)

Art, Support

“.. and then it remains you to re-create your study, the fragment, into a painting. For remember; these are two [different] things: Nature is the material from which we must take. But don't be fooled by the modern theories, that imitating, copying nature would be 'everything'. The goal, the Art's aim is …. to move..”

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:) ..en dan blijft u over, om de studie, het fragment, tot schilderij te herscheppen. Want vergeet niet, dat dat twee [verschillende] dingen zijn: De natuur is de stof, waaruit wij moeten putten. Maar laat u niet door de moderne (Jeltes: hij bedoelde hier waarschijnlijk de Belgische neo-impressionistische) theoriën wijsmaken, dat het navolgen, het copieeren der natuur 'alles' is. Het doel, het streven van de Kunst is.. ..te ontroeren.. Quote of Roelofs, in a letter to his pupil Frans Smissaert, 8 June 1886; as cited in Willem Roelofs (1822—1922), by Mr. H. F. W. Jeltes, in Maandschrift Elsevierweekblad... http://maandschrift.elsevierweekblad.nl/EGM/1922/01/19220101/EGM-19220101-0268/story.pdf, Jan. 1922, p. 222 1880's

Fools, Art, Nature, Study

“Matisse's art speaks for itself through its "mechanics", it's "form" and through the feeling which that "form" makes manifest. It's not by far the first to do so and to transcend the illustrated subject by doing so. (All good painting and sculpture does that to some extent). But just as Matisse rejected verbal rhetoric so he kept every last trace of illustrational rhetoric out of his art. He may have been the first painter in our tradition to do that in a really radical way. This doesn't make his art better than a Giotto's or Caravaggio's or Goya's or David's, not necessarily. But it does make it a salutary example for all those people who find it hard, in any medium, to mean what they say.”

Clement Greenberg (1909–1994) American writer and artist

On Matisse http://www.sharecom.ca/greenberg/matisse.html at sharecom.ca, 1973: On Henri Matisse 1970s

People, Art, Way, Feeling

“Decoration. Very rapidly executed, at one go, spontaneously [reflection of making a mural on the site for the terrace plaza hotel in Cincinnati]. What takes a long time in my case is the work of silent reflection; it is impossible for me to predict the duration of this preparatory period. You have to keep in mind that it is by no means a matter of just doing a large picture, and though it will not be possible to paint a true mural by attacking the wall directly, in fresco, to do so will require persistence while maintaining, as much as possible, the spirit of the great tradition of mural painting. I shall have to go to Cincinnati in advance as soon as I can, to view the architecture and its environs, because otherwise I would only create an easel painting in large format.”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

In a letter to Pierre Matisse, 26 January 1946; as quoted in Calder Miro, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 70
1940 - 1960

Time

“They were newly rich contractors who, having bought houses, motors, hand-painted pictures, and gentlemanliness, were now buying a refined ready-made philosophy. It had been a tossup with them whether to buy New Thought, Christian Science, or a good standard high-church model of Episcopalianism.”

Sinclair Lewis book Babbitt

Babbitt (1922), Ch. 30

Science, Housing

“A number of people including William Wilberforce, sought to refute these arguments by painting in black colors the horrible customs of the Hindus such as sati, infanticide, throwing the children into the Ganga, religious suicides, and above all idolatry. Vivid descriptions were given of the massacre of the innocent resulting from the car procession of Lord Jagannath at Puri, and the Baptists put down the number of annual victims at not less than 120,000. When challenged they had to admit that they did not actually count the dead bodies but arrived at the figure by an ingenious calculation.”

R. C. Majumdar (1888–1980) Indian historian

R. C. Majumdar, The History and Culture of Indian People. Vol. X, 2nd ed., Bombay, 1981, p. 152-153.

Children, People, Cars, Color

“Strange though this may sound, not knowing where one is going – being lost, being a loser – reveals the greatest possible faith and optimism, as against collective security and collective significance. To believe, one must have lost God; to paint, one must have lost art.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

God, Faith, Art, Optimism

“For me, being a 'lady painter' was never an issue. I don't resent being a female painter. I don't exploit it. I paint.”

Helen Frankenthaler (1928–2011) American artist

Quote by John Gruen, in 'The Party's Over Now: Reminiscences of the fifties — New York's artists, writers, musicians, and their friends'; Viking Press, 1972 - ISBN 0-916366-54-5; as cited by by Grace Glueck, in 'New York Times', 2011
1970s - 1980s

“My psyche was scarred in my art student days in Europe, just after World War II, by an ineradicable memory of war-wracked innocents. In their eyes lurk all of mankind's questions and answers. If mankind would look deep into the soul of the very young, he wouldn't need a road map. I wanted other people to know about those eyes, too. I want my paintings to clobber you in the heart and make you yell, "[DO SOMETHING]!"”

Walter Keane (1915–2000) American plagiarist

Page 42.
1965, Cited by Jane Howard

War, People, World, Art

“In that Renaissance (Cellini, Tintoretto, Titian..) there was an explosion of unique truthfulness, a love of painting and form... Then come the Jesuits and everything is formal; everything has to be taught and learned. It required a revolution for nature to be rediscovered; for Delacroix to paint his beach at Etratat, Corot his roman rubble, Gustave Courbet his forest scenes and his waves. And how miserable slow that revolution was, how many stages it had to go through!... These artists had not yet discovered that nature has more to do with depth than with surfaces. I can tell you, you can do things to the surface.... but by going deep you automatically go to the truth. You feel a healthy need to be truthful. You'd rather strip your canvas right down than invent or imagine a detail. You want to know.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), pp. 156-157, in: 'What he told me – I. The motif'

Love, Truth, Feeling, Imagination

“If I were the type of artist that didn't care whether or not my works communicated with viewers then I wouldn't bother exhibiting them, I might as well stock them in a warehouse. But I do exhibit and I do care because I want to communicate back to the viewer what I've viewed. My paintings are inspired by my homeland's traditional spaces. My colors are the colors of monasteries and mosques, the color of ruins of Sassanid and Seljuq era, colors of Bazaars of Isfahan and Shiraz, and colors of northern-Iran's ceramics. I have sensed all these colors, forms and everything within my painting's frame from the viewer's own world.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

World, Color, Communication, Sense

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

4 quotes from: 'The Color in my Painting'
Homage to the square' (1964)

Color, Dependency

“To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour.”

Gerhard Richter (1932) German visual artist, born 1932

Quote of Richter on his 'Grey Paintings', in a letter to nl:Edy de Wilde, 23 February 1975; as cited on collected quotes on the website of Gerhard Richter: on 'Grey-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/grey-paintings-9 1970's Variant: It [grey color] makes no statement whatever... It has the capacity that no other color has, to make 'nothing' visible. To me grey is the welcome and only possible equivalent for indifference, non-commitment, absence of opinion, absence of shape (note 99).... but, grey like formlessness and the rest, can be real only as an idea.... The painting is then a mixture of grey as a fiction and grey as a visible, designated area of color.

Idea, Indifference

“Winter draws what summer paints.”

Elizabeth Bibesco (1897–1945) writer, actress; Romanian princess

Haven (1951)

Winter, Summer, Drawing

“I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual.”

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

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

Art, Way, Idea, Personality

“But when a great artist or a great writer lays hold upon either sort of ugliness he transfigures it instantaneously. With a touch from the magic ring he metamorphoses it into beauty. His Is a sort of fairy alchemy. His Is a sort of fairy alchemy.
When Velasquez, paints Sebastian, King Philip's dwarf, he gives him such an appealing look that we read the poor creature's secret and see the tragedy it involved — a man forced to get his living by discarding his human dignity, and becoming a toy, a living joke. The more poignant his martyrdom, within that misshapen body, the more beautiful the artist's work.
When Millet paints a poor rustic leaning upon a hoe, a wretch broken by fatigue, scorched by the sun, degraded as a beast of the field, he has only to add an expression of resignation in order to make this hideous nightmare a magnificent symbol of humanity.
When Shakespeare gives us Tago or Richard III, and when Racine gives us Néron and Narcisse, moral ugliness, interpreted by minds so clear, so penetrating, becomes a marvelous theme of beauty.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Secret, Beauty, Reading, Sun

“Charlotte: 'I have some more [paintings she recently made] to show you'.
Daberlohn: Well, let's meet this evening…..
Isn't it absurd to address each other so formally? You're such a baby – here, let me hold your hand.... Real painter's hands'.
Charlotte: 'To me they're just ugly'....'You would be a wonderful subject for a portrait -'
Daberlohn (to himself) : 'Little girl, if you only knew what one has to go through to be able to paint.”

Charlotte Salomon (1917–1943) German painter

written text with brush, in her paintings JHM no. 4640 + 4641 + 4642 + 4643: in 'Life? or Theater..', p. 522-525
Charlotte Salomon - Life? or Theater?

Girl, Baby

“At present [around 1960-1970] I make objects (whether a type-writer, wheelbarrow, bed or fishingboat..) very 'hourloupés' [like his painting: Courre Merlan (Whiting Chase), 1964. What I mean is that I am swimming upstream against the 'l'Hourloupe' current. I am approaching it from the opposite direction: instead of starting out with indeterminate lines that eventually give me a wheelbarrow, I start out with the idea of making a wheelbarrow and then add my indeterminate lines. In effect what I am doing is making the current run simultaneously in both directions at the same time.”

Jean Dubuffet (1901–1985) sculptor from France

Source: posthumous, Jean Dubuffet, Works, writings Interviews, 2006, p. 81; Comment of Dubuffet on the occasion of his 1984 exhibition at the Venice Biennale

Idea, Time

“The world is rather shot to pieces [end of World War II - 1945], but the spectators climb out of their caves and pretend to have again become normal and customary humans who ask each other's pardon instead of eating one another or sucking each other's blood. The entertaining folly of war evaporates, distinguished boredom sits down again on the dignified old overstuffed chairs... May I report about myself that I have had a truly grotesque time, brim-full with work, Nazi persecutions, bombs, hunger, and again and again work – in spite of everything”

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

a. o. using his bed sheets as canvas for the new paintings
letter to de:Stephan Lackner, Amsterdam, 27 August 1945, as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, pp. 80 + 86
1940s

Hunger, War, World, Time

“She could take the dark out the nighttime and paint the daytime black.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Bringing It All Back Home (1965), She Belongs to Me

“Cheerfully and cheerily, I started working once more in giant steps to the second painting by Mr Twent. [of the, who wanted his estate immortalized in two large paintings] (translation from original Dutch: Fons Heijnsbroek)”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

(original Dutch, citaat van Schelfhout, uit zijn brief:) Vrolijk en opgeruimt, ben ik weder met reuze schreden begonen aan het tweede schilderij van de Heer Twent. [van het Wassenaarse landgoed Raaphorst, toen in bezit van Abraham Jacob Twent, die het landgoed in twee grote schilderijen wilde laten vereeuwigen]
Quote from Schelfhout, in a letter (with sketched figures) to an unknown friend, 21 Feb. 1823; as cited in Andreas Schelfhout - landschapschilder in Den Haag, Cyp Quarles van Ufford, Primavera Pers, (ISBN 978-90-5997-066-3), Leiden, p. 74

“The Cobra group started new, and first of all we threw away all these things we had known and started afresh, like a child — fresh and new. Sometimes my works look very childish, or childlike, schizophrenic or stupid, you know. But that was the good thing for me. Because, for me, the material is the paint itself. The paint expresses itself. In the mass of paint, I find my imagination and go on to paint it.”

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

Quoted in: 'Karel Appel, Dutch Expressionist Painter, Dies at 85', by Margalit Fox, in 'Art & Design', New York Times May 9, 2006
Quote of an oral history in 'Contemporary Artists' - Karel Appel describes the wild artistic urgency that gave rise to the Cobra artist-group

Stupidity, Imagination

“The paradox in the evolution of French painting from Courbet to Cézanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.”

Clement Greenberg (1909–1994) American writer and artist

"On the Role of Nature in Modernist Painting" (1949), p. 171
1960s, Art and Culture: Critical Essays, (1961)

Effort, Appearance

“In 1915 Sophie Taeuber and I carried out our first works in the simplest forms, using painting, embroidery and pasted paper [without using oil colors to avoid any reference with usual painting]. These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous.”

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

on creating art without using oil colors to avoid any reference with usual painting, in The Art of Jean Arp, Herbert Read, Abrams, New York 1968, p. p. 34, 38
1960s

Color, Nature, Reality, Past

“I don't crop. Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full.”

Robert Rauschenberg (1925–2008) American artist

1980's, I don't necessarily desire a perfect photography,' 1981

Life, Waiting

“My paintings are always images of my whole psychic makeup. You cannot deny yourself. You ask, am I painting myself? I'd been a swindler if I did otherwise. I'd be denying my existence as an artist. I've been also asked, what do you want to convey? And I say, nothing but my own nature... I am nothing but an optimist.”

Hans Hofmann (1880–1966) American artist

1960s
Source: Hofmann, in Ashton, (1960's) Twetieth Century Artists on Art, 218

Nature

“My dear Duret, I went to see Monet yesterday. I found him heart-broken and completely on the rocks. He asked me to find him someone who would take from ten to twenty of his paintings at their choice, for 111 fr. apiece. Shall we do it between us, making 500 fr. each? Naturally, no one, least of all he, must know that it is we who are doing it..”

Edouard Manet (1832–1883) French painter

Quote from Manet's letter to the Paris' art-critic Théodore Duret, 1875, as quoted in Letters of the great artists – from Blake to Pollock -, Richard Friedenthal, Thames and Hudson, London, 1963, p. 121
1850 - 1875

Nature, Heart

“I am going to do some drawings or paintings…in the mirror of my wardrobe.. with myself as a figure doing something.”

Gwen John (1876–1939) Welsh painter

Letter to Rodin (circa 1905)

Drawing

“People say, "Why do you paint?" and I say, to make magic.”

Peter Blake (1932) British artist

Serena Davies, "In the studio:Peter Blake, http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/12/13/bastudio13.xml The Daily Telegraph, 2005-12-13 Art

People

Quotes about painting page 5

Quotes about painting
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