“But there is one very odd thing - to notice that basically a picture doesn't change, that the first 'vision' remains almost intact, in spite of appearances. I often ponder on a light and a dark when I have put them into a painting; I try hard to break them up by interpolating a color that will create a different effect. When the work is photographed, I note that what I put in to correct my first vision has disappeared, and that, after all, the photographic image corresponds with my first vision before the transformation I insisted on.”

— Pablo Picasso

Boisgeloup, winter 1934
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 313
Quotes, 1930's

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Pablo Picasso 128

Spanish painter, sculptor, printmaker, ceramicist, and stag… 1881–1973

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“It would be very curious to record by means of photographs, not the stage of the picture, but its metamorphoses. Perhaps one would perceive the path taken by the mind in order to put its dreams into a concrete form. But what is really very curious is to observe that fundamentally the picture does not change, that despite appearances the initial vision remains almost intact”

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

Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 256).
Quotes, 1930's, "Conversations avec Picasso," 1934–35

“I do not photograph nature. I photograph my visions. Quoted in”

Man Ray (1890–1976) American artist and photographer

http://www.pbs.org/wnet/americanmasters/episodes/man-ray/prophet-of-the-avant-garde/510/ PBS episode of American Masters

“Idiots can do what I do. When I first started to do this [projecting photos on the canvas and painting them after having them traced in details with a piece of charcoal] in the 60's, people laughed. I clearly showed that I painted from photographs. It seemed so juvenile. The provocation was purely formal - that I was making paintings like photographs. Nobody asked about what was in the pictures. Nobody asked who my Aunt Marianne was. That didn't seem to be the point.”

Gerhard Richter (1932) German visual artist, born 1932

Richter's aunt had been murdered by the Nazis in the name of euthanasia, a crime for which his father-in-law from his first marriage, a Nazi doctor named Heinrich Eufinger, had been partially responsible. Richter painted a portrait of his aunt in 1965, based on an old photo. It was called 'Tante Marianne' / 9Aunt Marianne).
after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“My first photo Picture? I was doing large pictures in gloss enamel... One day a photograph of Brigit Bardot fell into my hands, and I painted it into one of these pictures in shades of grey. I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic.... thing that everyone could do.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 43, note 36 : quote on his start with photography

“I mixed [early 1950's] funny shades of colors and used them but I used them because they made the drawing in my picture move. It wasn't because I was in love with the idea of putting color down. But these colors were the expedient things to use for the way I drew and I say 'draw' not meaning line, though it might have included line. But the way I drew or envisioned or made my work. And it happened that it came out stressing color. But I did not have a vision or a notion about color per se being the thing that would make me or my pictures work or operate.”

Helen Frankenthaler (1928–2011) American artist

quote about shades and drawing
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“The chief aim of color should be to serve expression as well as possible. I put down my colors without a preconceived plan. If at the first step and perhaps without my being conscious of it one tone has particularly pleased me, more often then not when the picture is finished, I will notice that I have respected this tone while I have progressively altered and transformed the others. I discover the quality of colors in a purely instinctive way.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 412

“Ishabal: "If you may correct your vision as you like, why do you wear spectacles?"
Tris: "Because I like them. Because I have better things to do with my magic than fixing my vision when ordinary glass will do.”

Tamora Pierce book The Will of the Empress

Source: The Will of the Empress

“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964-65; as cited on collected quotes on the website of Gerhard Richter: on 'Photo-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/photo-paintings-12
1960's

“When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision.”

Agnes Martin (1912–2004) American artist

interview by Suzan Campbell, May 15, 1989; transcript in 'Archives of American Art', The Smithsonian Institution, Washington, D.C.
One of her first grid paintings she made in New York in 1964, it was [ https://www.moma.org/collection/works/78361 titled 'The Tree']. Martin often described this painting as her first grid. In fact, she had been making them since at least the beginning of 1960's
1980 - 2000

“I feel that story, first. I know those people, first. When I put them down they've already lived.”

Jack Kirby (1917–1994) American comic book artist, writer and editor

an archival video clip included in With Great Power: The Stan Lee Story, a 2010 documentary, beginning at 17:50

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Pablo Picasso 128

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