“In our time it has been seen, as I hope to show quite shortly, that simple children, roughly brought up in the wilderness, have begun to draw by themselves, impelled by their own natural genius, instructed solely by the example of these beautiful paintings and sculptures of Nature. Much more then it is probable that the first men, being less removed from their divine origin, were more perfect, possessing a brighter intelligence, and that with Nature as a guide, a pure intellect for master, and the lovely world as a model, they originated these noble arts, and by gradually improving them brought them at length, from small beginnings, to perfection. I do not deny that there must have been an originator, since I know quite well that there must have been a beginning at some time, due to some individual.”

— Giorgio Vasari

Source: The Lives of the Painters, Sculptors, and Architects, 1900, p. 5-6

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Giorgio Vasari 7

Italian painter, architect, writer and historian 1511–1574

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“Superficial knowledge … is hurtful to those who possess true genius; for it necessarily draws them away from their main object, wastes their industry over details and subjects foreign to their needs and natural talent, and lastly does not serve, as they flatter themselves, to prove the breadth of their mind. In all ages there have been men of very moderate intelligence who knew much, and so on the contrary, men of the highest intelligence who knew very little. Ignorance is not lack of intelligence, nor knowledge a proof of genius.”

Luc de Clapiers, Marquis de Vauvenargues (1715–1747) French writer, a moralist

Source: Reflections and Maxims (1746), p. 178.

“From the first the progress of man has been slowly but surely from the artificial to the natural, from the arbitrary and chimerical to the simple and scientific. Getting himself and his affairs more and more into natural currents and following them, this is the way man has progressed.”

John Burroughs (1837–1921) American naturalist and essayist

Source: The Light of Day (1900), Ch. II: From the Artificial to the Natural

“.. [by making his work 'Onement', in 1948].. from then on I had to give up any relation to nature, as seen [by himself till then]. That doesn't mean that I think my things are mathematical or removed from life. By 'nature' I mean something very specific. I think that some abstractions - for example Kandinsky's - are really nature paintings. The triangles and the spheres or circles could be bottles. They could be trees, or buildings. I think that in 'Euclydean Abyss' and 'Onement' I removed myself from nature. But I did not remove myself from life.”

Barnett Newman (1905–1970) American artist

interview, April 1965, edited for broadcasting by the BBC first published in 'The Listener', Aug. 1972; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 37
1960 - 1970, Interview with David Sylvester 1. Spring 1965

“I certainly believe that the simple landscape which seems less impressive is the nature that is most proper to paint. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik geloof beslist dat de natuur die het meest geschikt is om na te schilderen, het eenvoudige landschap is dat weinig indrukwekkend lijkt.
as cited in Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850, Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, p. 16 – note 2
undated quotes

“Mathematics, rightly viewed, possesses not only truth, but supreme beauty – a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of highest excellence, is to be found in mathematics as surely as in poetry. What is best in mathematics deserves not merely to be learnt as a task, but to be assimilated as a part of daily thought, and brought again and again before the mind with ever-renewed encouragement.”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

1900s, "The Study of Mathematics" (November 1907)

“Shall we say, for example, that Science and Art are indebted principally to the founders of Schools and Universities? Did not Science originate rather, and gain advancement, in the obscure closets of the Roger Bacons, Keplers, Newtons; in the workshops of the Fausts and the Watts; wherever, and in what guise soever Nature, from the first times downwards, had sent a gifted spirit upon the earth? Again, were Homer and Shakspeare members of any beneficed guild, or made Poets by means of it? Were Painting and Sculpture created by forethought, brought into the world by institutions for that end? No; Science and Art have, from first to last, been the free gift of Nature; an unsolicited, unexpected gift; often even a fatal one.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1820s, Signs of the Times (1829)

“[I]t is impossible for men who exercise their reason to believe that any one part of the human race has been marked out by God or nature as so superior to any other. No man is by nature, or by manifest declaration of God's will, the possessor or possession, the master or slave, of another. Whoever asserts such a right to such domination or possession is, in Congress's words from that same document, 'rightfully resistible.”

Harry V. Jaffa (1918–2015) American historian and collegiate professor

Source: 2000s, A New Birth of Freedom: Abraham Lincoln and the Coming of the Civil War (2000), p. 370

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“If the slavery of the parents be unjust, much more is their children's; if the parents were justly slaves, yet the children are born free; this is the natural, perfect right of all mankind; they are nothing but a just recompense to those who bring them up: And as much less is commonly spent on them than others, they have a right, in justice, to be proportionably sooner free.”

Thomas Paine (1737–1809) English and American political activist

1770s, African Slavery in America (March 1775)

“The first thing to change in my painting was the color [c. 1908-09]. I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively I felt that painting had to find a new way to express the beauty of nature.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian about 1905-1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 40

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Giorgio Vasari 7

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