“…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.”

—  Pablo Picasso

Quoted in: Paul Jones (2011), The Sociology of Architecture: Constructing Identities. p. 47.
Other explanation by Picasso of the Guernica.
Quotes, 1930's

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Pablo Picasso photo
Pablo Picasso128
Spanish painter, sculptor, printmaker, ceramicist, and stag… 1881–1973

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“It's a sort of infantile thing, painting. Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can't take the time because the idea doesn't correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paint sticks... So I had to find things that I could use, like my hands or the paint sticks... And I did those charts, big palettes... two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task.”

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Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), p. 179

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“I think they [the public] should not look for, but look passively — and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for... and I think the unconsciousness drives do mean a lot in looking at paintings... I think it should enjoyed just as music is enjoyed — after a while you may like it or you may not. But it doesn't seem to be too serious. I like some flowers, and others, other flowers I don't like. I think at least it gives — at least give it a chance.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, pp. 139-140

Frank Stella photo

“My painting is based on the fact that only what can be seen there is there. It really is an object. Any painting is an object and anyone who gets involved enough in this finally has to face up to the objectness of whatever it is that he's doing. He is making a thing.... all I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion... What you see is what you see.”

Frank Stella (1936) American artist

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Quotes, 1960 - 1970

“I make what it pleases me to make.... I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason. I intuitively paint flags.”

Jasper Johns (1930) American artist

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1950s

Pablo Picasso photo

“If I paint a wild horse, you might not see the horse… but surely you will see the wildness!”

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

“See, I never understand why my paintings hold together because I don't have any tricks for doing it and that is usually what makes a painting academic. There were some well-known devices for making a painting work hold together, ave cohesion. This seemed to be organized. But I don't necessarily have to know what the mechanism is. For me, what it really is, is something you have in yourself that makes you feel, it gives the painting a feeling of unity, of oneness, and being of all of one piece.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Willem de Kooning photo

“But I find, because of modern painting, that things which couldn't be seen in terms of painting, things you couldn't paint.... it is not that you paint them, bit is the connection. I imagine that Cézanne, when he painted a ginger pot with apples, must have been very grotesque in his day, because a still life was something set up of beautiful things. It may be very difficult, for instance, to put a Rheingold bottled beer on the table and a couple of glasses and a package of Lucky Strike [cigarets]. I mean, you know, there are certain things you cannot paintat a particular time, and it takes a certain attitude how to see those things, in terms of art.”

Willem de Kooning (1904–1997) Dutch painter

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 54
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“It′s always seemed odd to me that people don′t paint with both hands. I mean, if I′m technically so shackled that I can′t paint with my hair, stomach or bottom, what about my other hand? You′ve got to live in painting. All-round painting… Indefinable space-at least indefinable in traditional terms-that′s what I require of my paintings. There must be absolutely no central focus… There can be no progress until that damned centre has been eliminated… My paintings are sublimated stamping, screaming and hissing-I try to translate a process experienced physically into a physically visible one.”

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Source: Nervous Stillness on the Horizon (2006), P. 106 (1960)

Willem de Kooning photo

“The aesthetics of painting were always in a state of development parallel to the development of painting itself. They influenced each other and vice versa. But all of the sudden, in that famous turn of the century [1900] a few people thought they could take the bull by the horns and invent an aesthetic beforehand. After immediately disagreeing with each other, they began to form all kinds of groups, each with the idea of freeing art... The question as they saw it, was not so much what you could paint, but what you could not paint. You could not paint a house or a tree or a mountain. It was then that the subject matter came into existence as something you ought not to have.”

Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Ellsworth Kelly photo

“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'

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