“Your description of Troyon and Rousseau, for instance, is lively enough to give me some idea of which of their manners they are done in. There were other paintings from the time of Troyon's municipal pasture that had a certain 'mood' that one would have to call 'dramatic', even though they aren't figure paintings.”

— Vincent Van Gogh

In his letter to Theo, from the Hague, c. 11 July 1883 - original manuscript at Van Gogh Museum, location Amsterdam - inv. nos. b322 a-c V/1962, http://vangoghletters.org/vg/letters/let361/letter.html
At the exhibition 'Les cent chefs d'oeuvre' at Galerie Georges Petit - in Paris, 1883 there were 9 paintings of Troyon. Vincent had asked Theo in Paris to give him a description of the works at this exhibition. Vincent already appreciated Troyon's painting style, which he knew from his Paris' years at art-gallery Goupil where he worked
1880s, 1883

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Vincent Van Gogh 238

Dutch post-Impressionist painter (1853-1890) 1853–1890

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“.. learn to draw: that's where most of you [Troyon's pupils] are falling down today…. draw with all your might; you can never learn to much. However, don’t neglect painting, go to the country from time to time and make studies and above all develop them..' [Monet is quoting in his letter Troyon, a friend of Boudin in Paris]”

Claude Monet (1840–1926) French impressionist painter

in a letter to , 1859; as quoted in Discovering Art, – The life time and work of the World's greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 11
1850 - 1870

“.. learn to draw: that's where most of you [Troyon's pupils] are falling down today.... draw with all your might; you can never learn to much. However, don't neglect painting, go to the country from time to time and make studies and above all develop them.”

Constant Troyon (1810–1865) French painter

quoted by Monet, in his letter to Boudin, 1859; as quoted in Discovering Art, – The life time and work of the World's greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 11
Monet is quoting in his letter Troyon, who was a good friend of his first art-teacher Eugène Boudin in Le Havre

“Did not Troyon tell me to enter the studio of Couture [in Paris]? It is needless to tell you how decided was my refusal to do so. I admit even that it cooled me, temporarily at least, in my esteem and admiration of Troyon.... and [I] after all, connected myself only with artists who were seeking.”

Claude Monet (1840–1926) French impressionist painter

Quote from an interview with Thiebault-Sisson, 1900; as cited in Monet and His Muse: Camille Monet in the Artist's Life, Mary Mathews Gedo; University of Chicago Press, Sept. 2010, p. 10
1900 - 1920

“.. Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings…. at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently…. For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now…. they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28
1960s

“In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 9 : 'Notes from 1969'

“What surprising fellows those French painters are. A Millet, Delacroix, Corot, Troyon, Daubigny, Rousseau, and a Daumier.... Something else about Delacroix - he had a discussion with a friend about the question of working absolutely from nature, and said on that occasion that one should take one's 'studies' from nature - but that the 'actual painting' had to be made 'by heart'. This friend was walking along the boulevard when they had this discussion - which was already fairly heated. When they parted the other man was still not entirely persuaded. After they parted, Delacroix let him stroll on for a bit - then (making a trumpet of his two hands) bellowed after him in the middle of the street - to the consternation of the worthy passers-by:
'By heart! By heart!”

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

(Par coeur! Par coeur!)
I can't tell you how much I enjoyed reading this article and some other things about Delacroix..
In his letter to Anthon van Rappard, from Nuenen, The Netherlands, 8 and c. 15 August 1885 - original manuscript, letter 526, at Van Gogh Museum, location Amsterdam - inv. nos. b8390 V/2006, http://vangoghletters.org/vg/letters/let526/letter.html
See for this anecdote, taken from Charles Blanc, Les artistes de mon temps, letter 496, n. 7.
1880s, 1885

“The works done by mathematical formulas, even though are the works of brain, do not deserve to be called Art. Painting is Art, Photography is not.”

Laxmi Prasad Devkota (1909–1959) Nepali poet

कला र जीवन (Art and Life)
Art and Life

“Stealing, of course, is a crime, and a very impolite thing to do. But like most impolite things, it is excusable under certain circumstances. Stealing is not excusable if, for instance, you are in a museum and you decide that a certain painting would look better in your house, and you simply grab the painting and take it there. But if you were very, very hungry, and you had no way of obtaining money, it might be excusable to grab the painting, take it to your house, and eat it. -Lemony Snicket”

Daniel Handler book The Wide Window

The Wide Window (2000)

“…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.”

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

Quoted in: Paul Jones (2011), The Sociology of Architecture: Constructing Identities. p. 47.
Other explanation by Picasso of the Guernica.
Quotes, 1930's

“Until Abstract Expressionism you had to have something to paint about, some kind of subject matter. Even though Kandinsky and w:Arthur Dove were improvising earlier, it didn't take. They had to have symbols, suggested natural images or geometry, which was something real structurally. That gave them something to paint about. What was new was the idea that something you looked at could be like something you heard.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 8
Conversation with Karen Wilkin' (1986-1988)

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