“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

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

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Hans Arp 42

Alsatian, sculptor, painter, poet and abstract artist 1886–1966

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“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

“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

“Naturally, form has come to take precedence over color with me, though when I began painting color predominated. Slowly artistic evolution carried from color to form and while I still employ color, of course, it is the drawing which assumes the place of first importance in my pictures.”

Francis Picabia (1879–1953) French painter and writer

Quote of Picabia, in an interview in an American newspaper, 1915; as quoted by William A. Camfield, in Francis Picabia: His Art, Life and Times, Princeton, 1979, p.77
Picabia emphasised that line took precedence over colour in his works since 1915
1910's

“I met Sophie Taeuber in Zurich in 1915. Even then she already knew how to give direct and palpable shape to her inner reality. In those days this kind of art was called 'abstract art'. Now it is known as 'concrete art,' for nothing is more concrete than the psychic reality it expresses. Like music this art is tangible inner reality she was already dividing the surface of a watercolor into squares and rectangles which she juxtaposed horizontally and perpendicularly. She constructed her painting like a work of masonry. The colors are luminous, going from rawest yellow to deep red or…. blue.”

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

Arp's quote on his wife, in 'Sophie Taeuber-Arp', Hans Arp; in Arp on Arp: Poems, Essays, Memories, ed. Marcel Jean, transl. Joachim Neugroschel; Viking Press, New York 1972, p. 222
1910-20s

“I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.”

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

Quote from Corot's 'Notebooks', ca. 1850, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 240-241
1850s

“Well, I have a very simple method of painting. It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method. It's very simple... Yes, linseed oil. I used to use poppy oil, but I have heard that poppy oil is given to cracking pigment too, so I use it no longer... I find linseed oil and white lead the most satisfactory mediums.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1941 - 1967
Source: 'Oral history interview with Edward Hopper' (1959, June 17), conducted by John Morse; 'Archives of American Art', Smithsonian Institution

“We speak of concrete and not 'abstract painting', because we have finished with the period of research and speculative experience. In their search for purity artists were obliged to abstract from 'natural forms' in which the plastic elements were hidden, in order to eliminate natural forms and to replace them with 'artistic forms'. To-day the idea of 'artistic form' is as obsolete as the idea of 'natural form'. We establish the period of pure painting by constructing 'spiritual form.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Creative spirit becomes concrete.
Quote on 'Concrete art', in: 'Comments on the basic of concrete painting', Paris, January 1930; 'Art Concret', April 1930, pp. 2–4
1926 – 1931

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

Jean Dubuffet book Prospectus et tous écrits suivants

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

“Already in 1915, Sophie Taeuber [his wife] divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly [as Mondrian, Itten and Paul Klee did in the same period]. She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.”

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

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 288, Arp refers in this quote to the structure in the early watercolor paintings by his wife Sophie Taeuber.

“It was in mid-summer [1906]. The colors of the flowers attracted me irresistibly and almost sudden I was painting. My first small gardens paintings were born.”

Emil Nolde (1867–1956) German artist

Quote of Nolde, 1906 in Jahre der Kämpfe (The years of struggles); as cited by Francesco Mazzaferro in 'The Diaries of Paul Klee' - Part Three: Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1900 - 1920

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