“The idea for this picture came to me one winter's night as I was leaving La Scala. In the foreground there is a snow sweeper with a few couples, men in top hats and elegant ladies. I think that this canvas, which is totally unknown in Italy, is one of the paintings where I best represented the concept that I had the time about my art.”

— Carlo Carrà

Source: 1940's, La mia Vita (1945), Carlo Carrà; as quoted in Futurism, ed. Didier Ottinger (2008), p. 154 - Carrà is refering in this quote to his painting 'Uscita dal teatro' ('Leaving the theater'), he made in 1909

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Carlo Carrà 15

Italian painter 1881–1966

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Gerhard Richter (1932) German visual artist, born 1932

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“In 1913 I had the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn. A few months later I bought a cheap reproduction of a winter evening landscape, which I called 'Pharmacy' after assign two small dots, one red and one yellow, in the horizon. In New York in 1915 I bought at a hardware store an snow shovel on which I wrote 'In advance of the broken arm'. It was around that time that the word 'Readymade' came to mind to designate this form of manifestation.”

Marcel Duchamp (1887–1968) French painter and sculptor

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“The other night my daughter Lorna reminisced about the time I regressed to complete infantilism. We were having dinner and tapioca pudding was served. A wild glint came into my eyes and in the presence of my wife and children I shrieked at the top of my voice, “I love this more than anything in the world!” I had to be withdrawn from tapioca pudding slowly. It was one of the few times I wasn’t committed to achieve withdrawal.”

Oscar Levant book The Memoirs of an Amnesiac

The Memoirs of an Amnesiac (1965)

“My brother [the sculptor artist Raymond Duchamp-Villon had a kitchen in his little house in Puteaux, and he had the idea of decorating it with pictures by his buddies. He asked Gleizes, Metzinger, La Fresnaye, and I think Leger [all Cubist painters, then] to do some little paintings of the same size, like a sort of frieze. He asked me too, and I painted a coffee grinder which I made to explode.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from: Entretiens avec Marcel Duchamp, 1965; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 198
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1951 - 1968

“It was in 1947 that the idea of a conscious monochrome vision came to me... Pure, existential space was regularly winking at me, each time in a more impressive manner, and this sensation of total freedom attracted me so powerfully that I painted some monochrome surfaces just to 'see', to 'see' with my own eyes what existential sensibility granted me; absolute freedom! But each time I could neither imagine or think of the possibility of considering this as a painting, a picture, until the day when I said: Why not?”

Yves Klein (1928–1962) French artist

Source: before 1960, "Yves Klein, 1928 – 1962, Selected Writings", p. 15

“I think working on the floor [Helen started 1951-52] came from Pollock. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. And the whole idea of the painting being in a sense choreographed came from him, and that once one made a move toward the canvas surface that there was a dialectic and the surface gave you an answer back, and you gave it an answer back. But that was a Pollock notion of --.... That your plans made accidents, demanded something else and then something else hinged on something else..”

Helen Frankenthaler (1928–2011) American artist

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“If you saw the first painted color-studies that I made when I came here to Nuenen [1883] - and the present canvas [1885] - side by side - I think you'd see that as far as colour is concerned - things have livened up. I think that the question of the breaking of colours in the relationships of the colours will occupy you too one day. For as an art expert and critic, one must also, it seems to me - be sure of one's ground and have certain convictions. At least for one's own pleasure and to be able to give reasons, and at the same time one must be able to explain it in a few words to others, who sometimes turn to someone like you for enlightenment when they want to know something more about art.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to Theo, from Amsterdam, 30 April 1885, http://vangoghletters.org/vg/letters/let497/letter.html
Vincent refers to his famous painting Eaters' https://upload.wikimedia.org/wikipedia/commons/1/12/Vincent_van_Gogh_-_The_potato_eaters_-_Google_Art_Project.jpg'Potato
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“Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.”

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“Clement Greenberg talked about the ideas or possibilities of painting in his - I think -, 'After Abstract Expressionism' article, and he allows a blank canvas to be an idea for a painting. It might not be a good idea, but it's certainly valid. Yves Klein did the empty gallery. He sold 'air', and that was a conceptualized art, I guess.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 122

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