“A work of art is only of interest, in my opinion, when it is an immediate and direct projection of what is happening in the depth of a person's being.... It is my belief that only in this Art Brut can we find the natural and normal processes of artistic creation in their pure and elementary state.”

— Jean Dubuffet , book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, pp. 203-204

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Jean Dubuffet 46

sculptor from France 1901–1985

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“.. the wind of 'art brut' blows on writing as well as on other avenues of artistic creation.”

Jean Dubuffet (1901–1985) sculptor from France

Quote in the text of Jean Dubuffet, 'Project pour un petit texte liminaire introduisant les publications de 'L'art brut dans l'écrire', 1969 (1969), published in Le Langage de la rupture', Paris: Presses Universitaires de France, 1978
1960-70's

“To begin again at the beginning in a proper philosophical manner, one person is a unity, and somehow, after the long complex process, a work of art is a similar unity. But the person is fairly unintelligible and the art is intelligible. Primarily what is intelligible is the nature of the artist, either of the past or now. The interests, thought and quality of the artist make the final total quality of the work.”

Donald Judd (1928–1994) artist

Donald Judd (1983) in: Donald Judd (1987) Complete writings, 1975-1986. p. 28 ; Quoted in: " Archives http://www.juddfoundation.org/archives" at juddfoundation.org, 2014
1980

“Works of art, in my opinion, are the only objects in the material universe to possess internal order, and that is why, though I don't believe that only art matters, I do believe in Art for Art's sake.”

E.M. Forster (1879–1970) English novelist

“If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 260, "What's New: Ritual Revolution"

“Every year in art is equivalent to 10 normal years, in my opinion; Art is very tiresome and tiresome.”

Layal Abboud (1982) Lebanese pop singer

2012

“For I do not think of aesthetic theory as an attempt to investigate and expound eternal verities concerning the nature of an eternal object called Art, but as an attempt to reach, by thinking, the solution of certain problems arising out of the situation in which artists find themselves here and now. Everything written in this book has been written in the belief that is has a practical bearing, direct or indirect, upon the condition of art in England in 1937, and in the hope that artists primarily, and secondarily persons whose interest in art is lively and sympathetic, will find something of use to them.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: The Principles of Art (1938), p. vi

“If we observe the totality of Camille Pissarro's works, we find there, despite the fluctuations, not only an extreme artistic will which never lies, but what is more, an essentially intuitive pure-bred art... He looked at everybody, you say! Why not? Everyone looked at him, too, but denied him. He was one of my masters and I do not deny him.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

Quote c. 1902, in Racontars d'un Rapin, Paul Gauguin; as quoted in 'Introduction' of Camille Pissarro - Letters to His Son Lucien, ed. John Rewald, with assistance of Lucien Pissarro – (translated from the unpublished French letters by Lionel Abel); Pantheon Books Inc. New York, second edition, 1943, p. 15
After Paul Cezanne it was Gauguin who came to ask advice and painted landscape at the side of the much elder Pissarro. The traces of this apprenticeship as an impressionist were soon to disappear from Gauguin's works, but shortly before he died, he wrote these sentences about his former teacher
1890s - 1910s

“My work is independent of my will. My best works are created when driven by an inner strength. This has nothing to do with my will. It is that immediate spontaneity of my intense way of living that makes the difference between my work and a lot of other artists who make art works with their mind.”

Bram van Velde (1895–1981) Dutch painter

Letter to H. E. Kramer, 14-11-1927, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 46 (English translation: Charlotte Burgmans)
1920's

“Renaissance art has always been my favourite subject. The realism involved in it is a challenge for me not only as an artist but also as a priest. Subjects involving human beings have always been my core area of interest.”

Stephen Rotluanga (1952)

Nude figures, Mizo bishop's tribute to God https://timesofindia.indiatimes.com/city/guwahati/Nude-figures-Mizo-bishops-tribute-to-God/articleshow/4834560.cms?referral=PM (July 29, 2009)

“When I left Paris in 1954, I saw no art that was being 'made' like mine and returning to the U. S. I found no one 'making' art that way either. In my own work, I have never been interested in painterliness (or what I find is) a very personal handwriting, putting marks on a canvas. My work is a different way of seeing and making something and which has a different use.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

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