“After I had been in Canada painting the wide white barns along the Saint Lawrence river, I thought how different the life of the Canadian farmer was from life in Cebolla. So I painted [in 1945] the Cebolla church which is so typical of that difficult life. I have always thought it one of my very good paintings, though its message is not as pleasant as many of the others.”

— Georgia O'Keeffe

1970s, Some Memories of Drawings (1976)

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Georgia O'Keeffe 59

American artist 1887–1986

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“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'

“It was very tiny, our house [ St. Prex ], and I had no room for my own, only a window, which I could call mine. But I was so gloomy and unhappy in my soul after all those dreadful experiences, that I was quite content to sit at the window and quietly collect my thoughts and feelings. I had a bit of paint but no easel, so I went into Lausanne – twenty minutes on the train – and bought a small easel from a photographer... It was highly unsuitable for painting but for more than twenty years I have painted my best work on that little easel”

Alexej von Jawlensky (1864–1941) Russian painter

in mainly small sizes
from: 'Lebenserinnerungen', 1938
This small house was in St. Prex, in Switzerland, lake Genova, where Jawlensky concentrated himself on the view around his house in the years after 1914.. ..he painted here more than 400 'Variations on a landscape theme', in St. Prex
Source: 1936 - 1941, Life Memories' (1938), p. 186

“Painting is a very difficult thing. It absorbs the whole man, body and soul – thus I have passed blindly many things which belong to the real and political life. I assume, though, that there are two worlds: the world of spiritual life and the world of political reality. Both are manifestations of life which may sometimes coincide but are very different in principle. I must leave it to you [the audience] to decide which is the more important.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), p. 18

“I have another painting finished, a view near Rotterdam, and then another in process, and very far along. I made them from nature, that is to say I made watercolors [in open air] after which I made my [oil]-paintings.”

Johan Jongkind (1819–1891) Dutch painter and printmaker regarded as a forerunner of Impressionism

In a letter to his Dutch friend Eugène Smits, 22 Nov. 1856; as quoted in Master Drawings from the Yale University Art Gallery, by Suzanne Boorsch, John Marciari; Yale University. Art Gallery, p. 246 - note 7

“"I do not literally paint that table, but the emotion it produces upon me."
After a pause full of intense thought on my part, I asked: "But if one hasn't always emotion. What then?"
"Do not paint," he quickly answered. "When I came in here to work this morning I had no emotion, so I took a horseback ride. When I returned I felt like painting, and had all the emotion I wanted.”

Henri Matisse (1869–1954) French artist

Interview with Clara T. MacChesney (1912), in Matisse on Art (1995) edited by Jack D. Flam, p. 66
1910s

“I find that I have painted my life, things happening in my life — without knowing. After painting the Shell and shingle [c, 1926] many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle — the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted.”

Georgia O'Keeffe (1887–1986) American artist

1970s, Some Memories of Drawings (1976)

“I thought that the painter had no right to paint so unclearly....(but) the first faint doubt as to the importance of an 'object' as the necessary element in painting.”

Wassily Kandinsky (1866–1944) Russian painter

Kandinsky is remembering his experience that he saw one of the 'Haystack' paintings of Monet, for the first time in his life, in Moscow (1895)
Source: 1916 -1920, Autobiography', 1918, p. 10

“I have seen big painting here. When I had looked at all the paintings by all the masters I had known I could not help saying to myself all the time, it's very pretty but it's not all yet. It ought to be better, but now I have seen what I always thought ought to have been done and what did not seem to me impossible. O what satisfaction it gave me to see the good Spanish work so good so strong so reasonable so free from every affectation. It stands out like nature itself.”

Thomas Eakins (1844–1916) American painter

Letter from Madrid to Benjamin Eakins (1869-12-02).

“I remained standing in the middle of the room, swaying on my feet as though I had received a blow. I thought of my life and saw what it had been. No one could swim against such a current of mud. I had been a man so horrible that he could have no friend. But wasn't that, I asked myself, because I had always been incapable of wearing a disguise? If all men went through life with unmasked faces, as I had done for half a century, one might be surprised to find how little difference there was between them. But, in fact, no one lives with his face uncovered, no one. Most men ape greatness or nobility. Though they do not know it, they conform to certain fixed types, literary or other. This the saints know, and they hate and despise themselves because they see themselves with unclouded eyes. I should not have been so universally condemned had I not been so defenseless, so open, and so naked.”

Francois Mauriac (1885–1970) French author

Source: Viper's Tangle

“Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my effort to create an equivalent with paint color for the world – life as I see it.”

Georgia O'Keeffe (1887–1986) American artist

1930s

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Georgia O'Keeffe 59

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