“Papa painted small landscapes by the river in Coyoacán, and copied sentimental paintings in watercolour and oil. Afterwards, he gave me a little box of paints that belonged to him. Ángel Salas gave me a small book that told me how to prepare the canvases, and I made them smooth, smooth. The courtship with Gómez Arias lasted from 1922 until 1925, when the bus crushed us both. Gómez Arias brought me books on painting and painters from Europe. These were the first books on art that fell into my hands.”

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 73

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Frida Kahlo51

Mexican painter 1907–1954

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“I returned to school [after the bus accident], but I felt very sore and had little strength. I took my paintings to Diego [Rivera], and he liked them a lot, most of all the self-portrait. But of the rest he told me that I was influenced by Doctor Atl [a Mexican painter and revolutionary] and by Montenegro, and that I should try to paint whatever I wanted without being influenced by anyone else. That impressed me a lot, and I began to paint that I believed in. Then the friendship and almost courtship with Diego began. I would go to see him paint in the afternoon, and afterwards he would take me home by bus or in a Fordcito – a little Ford that he had – and he would kiss me.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 74

“José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', pp. 73-74

“It was in mid-summer [1906]. The colors of the flowers attracted me irresistibly and almost sudden I was painting. My first small gardens paintings were born.”

Emil Nolde (1867–1956) German artist

Quote of Nolde, 1906 in Jahre der Kämpfe (The years of struggles); as cited by Francesco Mazzaferro in 'The Diaries of Paul Klee' - Part Three: Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html <br class="br">1900 - 1920

“He [ Rufino Tamayo, Mexican painter] showed me how to use my first paint box [and gesturing toward an old wooden palette displayed like a prize on the wall] That's my original palette!”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“I do both: I make preliminary drawings, other times I paint directly, other times I start a painting and then paint it out so that it becomes another painting or nothing at all. If a painting doesn't work, throw it out. When I work from preliminary sketches, I don't just enlarge these drawings, but plan my areas in a large painting by using small drawings for separate areas. I combine them in a final painting, often adding to or subtracting from the original sketches.... There are certain canvases here in my studio - the little one over there – that I've worked on for a good six months – painting most of it out and then painting it over and over again. I think I've got it now.”

Franz Kline (1910–1962) American painter

1958
1960's, Talks with Seventeen Artists, 1962

“We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.... and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 75

“It doesn’t matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serve a great cause: accretion of the national wealth.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Letter to S.P. Kuvshinnikova (December 25, 1888)
Letters

“If I were a painter
I would paint my reverie
If that's the only way for you to be with me”

Norah Jones (1979) American singer-songwriter and multi-instrumentalist

"Painter Song", Come Away with Me (2002)
Song lyrics

“I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

“.. crushed by the strength of this Art [the old Egyptian art]... I fought against it but it conquered, it is surely the greatest Art the past has left us.... how are my feeble hands to ever paint the effect on me.”

Mary Cassatt (1844–1926) American painter and printmaker

Quote of Cassatt, after her trip to Egypt, 1910; as cited by Nancy Mowll Mathews, in Mary Cassatt: A Life, Yale University Press, New Haven, 1998, p. 291 - ISBN 978-0-585-36794-1

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