“Picasso.... the master.... being a master: 'I don't search, I find' [a famous quote of Picasso, where he criticize the 'searching' artists].. the master, the mastery.... Producing, producing... He [Picasso! ] only knows how to work, can’t do anything else. What lost souls!... The great risk is producing for its own sake. You must never force things. You just have to wait.”

— Bram van Velde

31 October 1966; p. 59
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

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Bram van Velde 97

Dutch painter 1895–1981

Gary Ross (1956) American film director

Response after being asked if he had a favorite director in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/
Context: I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.

“Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.”

Pauline Kael (1919–2001) American film critic

"Le Mystère Picasso," p. 511.
5001 Nights at the Movies (1982)

“Our only means of original manifestation is to vomit these old masterpieces. Masterful spittle is our only opportunity to create within the Cinema our masterpieces. That's what Picasso stands for. He is a creator of deglutition and spittle, of old well-digested canvases.”

Isidore Isou (1925–2007) Romanian-born French poet, film critic and visual artist

Venom and Eternity (1951), Danielle's Monologue

“This is what has Gropius the director made the Bauhaus famous. Not its lamps or its furniture. They are all out of fashion already. But the way of approaching formal problems or material as such, that has made it famous. And the emphasis on material, especially its capacity is my contribution. That was never cleared between us teachers. Kandinsky did what he thought should be done. Klee developed an absolutely different method. Schlemmer developed absolutely something else. Klee was my so-called form master. In the workshops there they had a crafts master and a form master. The crafts master had to direct the practical work, the mechanics of the workshop. And the form master had to develop the, formal qualities. Klee was my form master in the glass workshop. He came to me and never criticized anything. He talked about something else. Never asked about any form problem with the windows I was working on. Never a word. He was too respectful. He was the nicest master I could ask for. He talked about exhibitions. He thought I should exhibit. That's another story. We had a good relationship because we never dealt with the same problems. He didn’t attack our problems. He never brought up a problem.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“I suppose more than anything else I'd like to be an old man with a good face, like Hitchcock or Picasso. They know that life is not just a popularity contest.”

Sean Connery (1930) Scottish actor and producer

Interview in the Saturday Evening Post (June 6, 1964).

“Get all the information you can about the Cubists, and about Georges Braque and Pablo Picasso. Go to Kahnweilers' (Paris art gallery). And if he's got photos of recent works – produced after I have left -, buy one or two. Bring us [the Futurists in Italy, like Boccioni himself] back all the information you can get.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Quote in Boccioni's letter to Gino Severini, staying in Paris in the Summer of 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 27.
1911

“Question: Do you think that there is only one Perfect Master?
Maharaj Ji: You see –- here I want to be very frank –- people come to me and ask me about this, and they say, “What is your opinion about a Perfect Master? Is there one, is there two?” I tell them my opinion that there is only one Perfect Master. Because perfectness, is one, not two, not three. So there is only one Perfect Master in this world. And because he is perfect, that’s it.. he is perfect. You just can’t divide perfect.”

Prem Rawat (1957) controversial spiritual leader

From an Interview with John Wood of the Boston Globe with Guru Maharaj Ji in Newton, Massachusetts, August 3, 1973, published in And It Is Divine ~ Dec. 1973, Volume 2. Issue 2.
1970s

“Once, Picasso was asked what his paintings meant. He said, “Do you ever know what the birds are singing? You don’t. But you listen to them anyway.” So, sometimes with art, it is important
just to look.”

Marina Abramović (1946) Yugoslav-American artist

“The usual criticism of a novel about an artist is that, no matter how real he is as a man, he is not real to us as an artist, since we have to take on trust the works of art he produces.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 20
The Third Book of Criticism (1969)

“In virtue of this monstrous system, the son of the worker, on entering life, finds no field which he may till, no machine which he may tend, no mine in which he may dog, without accepting to leave a great part of what he will produce to a master.”

Peter Kropotkin book The Conquest of Bread

Source: The Conquest of Bread (1892), Ch. 1 : Our Riches, p. 59

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