“Later I had two green ones [alligator pears] — not so perfect. I painted them several times [c. 1920] when the men [American modernist artists, a. o. Marsden Hartley ] didn't think much of what I was doing. They were all discussing Paul Cézanne, with long involved remarks about the 'plastic quality' of his form and colour. I was an outsider. My colour and form were not acceptable. It had nothing to do with Cézanne or anything else. I didn't understand what they were talking about why one colour was better than another... Years later when I finally got to Cézanne's Mont Sainte-Victoire in the south of France, I remember sitting there thinking, 'How could they attach all those analytical remarks to anything he did with that mountain?”

— Georgia O'Keeffe

All those entire words piled on top of that poor little mountain seemed too much.
1970 - 1986, Some Memories of Drawings (1976)

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Georgia O'Keeffe 59

American artist 1887–1986

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

Camille Pissarro (1830–1903) French painter

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

“The clean clear colours [of a Shanty farm] were in my head. But one day as I looked at the brown burned wood of the Shanty, I thought 'I can paint one of those dismal-coloured paintings like the men. I think just for fun I will try — all low-toned and dreary with the tree besides the door.' In my next show [c. 1923], 'The Shanty' went up. The men seemed to approve of it. They seemed to think that maybe I was beginning to paint…. that was my only low-toned dismal-coloured painting.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)

“For a long time I limited myself to one colour — as a form of discipline.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

quoted in Picasso on Art (1988), ed. Dore Ashton
quote on Picasso's 'Blue' and 'Rose' periods
Attributed from posthumous publications

“I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14... Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place.”

Elaine de Kooning (1918–1989) American painter

n.p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

“Woods were ringed with a colour so soft, so subtle that it could scarcely be said to be a colour at all. It was more theof a colour - as if the trees were dreaming green dreams or thinking green thoughts.”

Susanna Clarke book Jonathan Strange & Mr Norrell

Source: Jonathan Strange & Mr Norrell

“The 'Women' [paintings] had to do with the female painted through all ages, all those idols, and maybe I was stuck to a certain extent; I couldn't go on. It did one thing for me: it eliminated composition, arrangement, relationships, light – all this silly talk about line, colour and form – because that was the thing I wanted to get hold of.”

Willem de Kooning (1904–1997) Dutch painter

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

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

Giorgio Morandi (1890–1964) Italian painter

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

“My colour has no symbolic function whatever. I don't want any colour to be noticeable. I want the colour to be the colour of life, so that you would notice it as being irregular if it changed. I don't want it to operate in the modernist sense as colour, something independent. I don't want people to say, "Oh, what was that red or that blue picture of yours, I've forgotten what it was."”

Lucian Freud (1922–2011) British painter and engraver

Lucian Freud: Paintings (1987), p. 16
Lucian Freud : Paintings (1987)

“None of the free [ a. o. his first religious] imaginative pictures that I painted at this time [c.1909] or later, had any kind of model, or even a clearly conceived idea. It was quite easy for me to imagine a work right down to its smallest details, and in fact my preconceptions were usually far more beautiful than the painted outcome: I became the copyist of the idea. Therefore I liked to avoid thinking about a picture beforehand, all I needed was a vague idea of luminescences of colour. The work then developed of its own accord under my hands.”

Emil Nolde (1867–1956) German artist

Nolde's quote c. 1909; as cited by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 81
1900 - 1920

“During my first year at Berkeley I arrived late one day to one of Neyman's classes. On the blackboard were two problems which I assumed had been assigned for homework. I copied them down. A few days later I apologized to Neyman for taking so long to do the homework - the problems seemed to be a little harder to do than usual. I asked him if he still wanted the work. He told me to throw it on his desk. I did so reluctantly because his desk was covered with such a heap of papers that I feared my homework would be lost there forever.
About six weeks later, one Sunday morning about eight o'clock, Anne and I were awakened by someone banging on our front door. It was Neyman. He rushed in with papers in hand, all excited: "I've just written an introduction to one of your papers. Read it so I can send it out right away for publication." For a minute I had no idea what he was talking about. To make a long story short, the problems on the blackboard which I had solved thinking they were homework were in fact two famous unsolved problems in statistics. That was the first inkling I had that there was anything special about them.”

George Dantzig (1914–2005) American mathematician

Dantzig (1986) in: D.J. Albers and C. Reid "An interview with George B. Dantzig : the father of linear programming". In: The College Mathematics Journal Vol 17, nr 4, 1986, p. 293-314.

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Georgia O'Keeffe 59

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