“Every painter must traverse for himself that distance from Paris to Aix (Aix-en-Provence where Paul Cézanne frequently painted in open air] or from Venice to Toledo [where w:El Greco lived and painted for many years]. Expression is for one knowing its own pivot. Every expressor relates solely to himself – that is the concern of the individualist.”

— Marsden Hartley

statement for catalogue of 'Forum exhibition 1916', reprinted in On art, p. 66-67; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 57
1908 - 1920

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Marsden Hartley33

American artist 1877–1943

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“At Aix (Aix en Provence) I am not free; whenever I want to return to Paris, I always have to put up a fight, and, although your (his father) opposition may not be absolute, I am always deeply affected by the resistance that I encounter from you. I sincerely want my liberty unfettered.... it would give me great pleasure to work in the Midi, some aspects of which offer many resources to the painter; there I would be able to attack some of the problems that I wish to solve.”

Paul Cézanne (1839–1906) French painter

Quote in Cezanne's letter to his father in Aix; ca. 1871-73; as quoted in Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, pp. 33-34
Quotes of Paul Cezanne, 1860s - 1870s

“If you could see what these flowers are. [Morandi's remark, circa 1917 - to the writer Raimondi from Bologna, indicating flowers in the corner of a reproduction of a painting by w:El Greco – beneath the feet of angels and saints]). No modern painter has painted flowers like these. Perhaps only Renoir”

Giorgio Morandi (1890–1964) Italian painter

Quote of Morandi; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 48
1925 - 1945

“Words paint to the imagination but every man forms the thing to himself in his own way.”

Jonathan Richardson (1667–1745) English painter

Essay on the Theory of Painting (1725)

“.. the light suggests no particular time of day or night [in the paintings of Paul Cézanne ]; it is not appropriated from morning or afternoon, sunlight or shadow.”

Clyfford Still (1904–1980) American artist

1950s
Source: Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990; p. 145

“Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting..”

Titian (1488–1576) Italian painter

As quoted in The Quotable Artist (2002) by Peggy Hadden, p. 71.
As quoted in The Quotable Artist (2002) by Peggy Hadden, p. 72.
undated quotes
Variant: They who are compelled to paint by force, without being in the necessary mood, can produce only ungainly works, because this profession requires an unruffled temper.

“Light and air, that's art! I can never give enough light in my paintings, especially in the skies. The air in a painting, that is really a thing! It is the main thing! Air and light are the great magicians. It is the sky which prescribes the painting. Painters never look enough at the sky. We must get it from above. (translation from Dutch, Fons Heijnsbroek, 2018)”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: Licht en lucht, dat is de kunst! Ik kan in m'n schilderijen, vooral in de luchten, nooit licht genoeg brengen.. .De lucht op een schilderij, dat is een ding! Een hoofdzaak! Lucht en licht zijn de groote toovenaars. De lucht bepaalt het schilderij. Schilders kunnen nooit genoeg naar de lucht kijken. Wij moeten het van boven hebben.
Quote of J. H. Weissenbruch; as cited in J.H. Weissenbruch 1824-1903, ed. E. Jacobs, H. Janssen & M. van Heteren; exposition-catalog, Museum Jan Cunen / Gemeentemuseum Den Haag, Zwolle 1999, pp. 227-233

“The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative... In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'....'For an impressionist, to paint after nature is not to paint the object, but to express sensations'....'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

“In this big moonlit landscape by the painter N. N., that deservedly celebrated technician, one sees more than one would wish, or that can actually be seen by moonlight. But what the perceptive, sensitive soul looks for in every painting, and rightly expects to find, is missing.... If that painter could find it in himself to paint fewer, but more deeply-felt, pictures instead of so many clever ones, his contemporaries and posterity would be more grateful to him.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote from his writings Thoughts on Art, Caspar David Friedrich; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 33
undated

“In this consists the difference between painting and poetry : the painter reproduces others, — the poet reproduces himself.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Monthly Magazine

“Cézanne's painting is strictly painting, and its value is immense; but Van Gogh's painting has the Outsider's characteristic: it is a laboratory refuse of a man who treated his own life as an experiment in living; it faithfully records moods and developments of vision on the manner of a Bildungsroman.”

Colin Wilson book The Outsider

Source: The Outsider (1956), p. 103

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