“It pleased me (and I think this predilection is more or less constant in all my paintings) to juxtapose brutally, in these feminine bodies, the extremely general and the extremely particular, the metaphysical and the grotesque trivial. In my view, the one is considerably reinforced by the presence of the other.”

— Jean Dubuffet, book Prospectus et tous écrits suivants

on his series 'Corps de Dame'
As quoted in Jean Dubuffet, Works, writings Interviews, ed. Valerie da Costa and Fabrice Hergott; Ediciones Polígrafa, Barcelona 2006
1960-70's, Prospectus et tous écrits suivants, 1967

Adopted from Wikiquote. Last update June 3, 2021. History

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Jean Dubuffet46

sculptor from France 1901–1985

Dril Twitter user

[ Link to tweet https://twitter.com/dril/status/749438005706883072] <br class="br">Tweets by year, 2016

“What we've come to realise is those two extremes - far-right fascism and Islamist extremism - have a symbiotic relationship, where they mutually reinforce the other's very generalised view of the other, and they feed off each other's propaganda.”

Maajid Nawaz (1977) British activist

Extremists and gangsters - good meeting for bad company https://www.bbc.co.uk/news/world-europe-13939227 BBC News (28 June 2011) <br class="br">2011

“The more one pleases generally, the less one pleases profoundly.”

Krister Stendahl (1921–2008) Swedish theologian

“I don’t think I was as bad, or as extreme in my power or my weakness, as I was depicted”

Nancy Reagan book My Turn

Foreword
My Turn (1989)
Context: In 1981, when Ronnie and I moved to Washington, I never dreamed that our eight years there would be a time of so much emotion. But life in the White House is magnified: The highs were higher than I expected, and the lows were much lower.
While I loved being first lady, my eight years with that title were the most difficult years of my life. Both of my parents died while Ronnie was president, and my husband and I were both operated on for cancer. Before we had even settled in, Ronnie was shot and almost killed. Then there was the pressure of living under the intense scrutiny of the media, and the frustration of frequently being misunderstood. Everything I did or said seemed to generate controversy, and it often seemed that you couldn’t open a newspaper without seeing a story about me — my husband and me, my children and me, Donald Regan and me, and so on.
I don’t think I was as bad, or as extreme in my power or my weakness, as I was depicted — especially during the first year, when people thought I was overly concerned with trivialities, and the final year, when some of the same people were convinced I was running the show.
In many ways, I think I served as a lightning rod; and in any case, I came to realize that while Ronald Reagan was an extremely popular president, some people didn’t like his wife very much. Something about me, or the image people had of me, just seemed to rub them the wrong way.

“I tell you that I have nothing more to wish for. They were extremely pleased with my pictures, and expressed great satisfaction not only the King, but the Prince as well. Neither I nor my works deserve such recognition.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

letter to his friend Don Martín Zapater, early Jan. 1779 https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 110 <br class="br">Early in January, 1779, Goya was presented to the Spanish King and the heir apparent, and kissed hands. They appreciated his pictures (cartoons), Goya made as designs for the royal tapestry factory, to cover the huge walls of the king's palace https://commons.wikimedia.org/wiki/Palacio_Real_de_Madrid <br class="br">1770s

““Ritual” might be an acceptable term, if shorn of its overtly religious connotations. For me, breaking taboos became nothing less than a stylistic means. I allowed my body, my self, to be pushed into such extreme situations that certain norms of social behaviour could only appear utterly absurd to me.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 163 (1984)

“There are no excuses for my extremist past, for the suffering I caused to loved ones, to family, to friends, to those many more, those far more, 'unknown others' who were or who became the 'enemies' posited by some extremist ideology. No excuses because the extremism, the intolerance, the hatred, the violence, the inhumanity, the prejudice were mine; my responsibility, born from and expressive of my character; and because the discovery of, the learning of, the need to live, to regain, my humanity arose because of and from others and not because of me. Thus what exposed my hubris - what for me broke down that certitude-of-knowing which extremism breeds and re-presents - was not something I did; not something I achieved; not something related to my character, my nature, at all. Instead, it was a gift offered to me by two others - the legacy left by their tragic early dying. That it took not one but two personal tragedies - some thirteen years apart - for me to accept and appreciate the gift of their love, their living, most surely reveals my failure, the hubris that for so long suffused me, and the strength and depth of my so lamentable extremism.”

David Myatt (1950) British writer

Source: Pathei-Mathos – Genesis of My Unknowing (2012) http://www.davidmyatt.info/genesis-of-my-unknowing.html

“What interests me is to paint the kind of anti-sensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward — neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.”

Roy Lichtenstein (1923–1997) American pop artist

Quote of Lichtenstein in: Interview by G.R. Swenson (1963); as quoted in Painters on Painting, Eric Protter (1971) p. 263
1960's

“I paint my own reality. The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.”

Frida Kahlo (1907–1954) Mexican painter

“…those hostilities were not very well contained, as we found out on September 11th, and so the notion that somehow policies that finally confront extremism are actually causing extremism I find grotesque.”

Condoleezza Rice (1954) American Republican politician; U.S. Secretary of State; political scientist

Interview on ABC This Week http://web.archive.org/web/20060717235153/http://www.state.gov/secretary/rm/2006/69026.htm, July 16, 2006.

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Jean Dubuffet46

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