“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

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

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Kenneth Noland photo
Kenneth Noland 28
American artist 1924–2010

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“It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano... Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side... Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.”

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Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

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“We may have different religions, different languages, different colored skin, but we all belong to one human race. We all share the same basic values.”

Kofi Annan (1938–2018) 7th Secretary-General of the United Nations

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“As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first.”

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“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph
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“Graphic work as the expressive movement of the hand holding the recording pencil.... is so fundamentally different from dealing with tone and color that one can use this technique quite well in the dark, even in the blackest night. On the other hand, tone (movement from light to dark) presupposes some light, and color presupposes a great deal of light.”

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“I've always liked to go down a different path. Being a woman of color, I never followed a cookie cutter way.”

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“He always finds strength, despite everything, to paint your colors world.”

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Original: Trova sempre la forza, nonostante tutto, per dipingere il tuo mondo a colori.
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“Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways.”

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