“I don't feel any direct relationship between what I do and existing art. Though there is unavoidable progression: the things all paintings have in common are paint, and color, and some means of application. With the standard you can make any two pictures appear either alike of different. I don't think whether they're alike or different is really very interesting.”

— Robert Rauschenberg

1950's, Is today's artist with or against the past, (1958)

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Robert Rauschenberg 47

American artist 1925–2008

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“I don't paint things. I only paint the differences between things.”

Henri Matisse (1869–1954) French artist

Je ne peins pas les choses. Je ne peins que les différences entre les choses.
"Henri Matisse: contre vents et marées : peinture et livres illustrés de 1939 à 1943"
1930s

“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.

“I think of Abstract Art in the same way I think of all Art, Past and Present. I see it as divided into two Major categories, Objective and Subjective. Objective Art is Absolute Art. Subjective Art is Illustration, or communication by Symbols, Replicas, and Oblique Emotional Passes. They are both Art, but their Content has no Identity. Their difference cannot be defined as a difference of Idiom, because all Paintings have the Laws of Design as a common denominator. Design exists as an Idiom of Color-Space Logic, and it also exists in an Idiom of Representational Likenesses. Objective Art and Subjective Art exist in both Idioms. Their difference can only be defined in terms of what the Artist thinks his Purpose means-its Content as a Design Image.”

Stuart Davis (1892–1964) American painter

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

“But we're still left with structural or compositional elements. The problems aren't any different. I still have to compose a picture, and if you make an object [as Donald Judd does] you have to organize the structure. I don't think our work that radical in any sense because you don't find any really new compositional or structural element. I don't know if that exists. It's like the idea of the color you haven't seen before. Does something exist that's as radical as a diagonal that's not a diagonal? Or a straight line or a compositional element that you can't describe?”

Frank Stella (1936) American artist

quote from Stella, reacting in the artist-talk on Donald Judd who emphasis the 'whole' of an art work
Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 119

“Music comes first; lyrics are secondary. Most of my lyrics are contradictions. I'll write a few sincere lines, and then I'll have to make fun of [them]. I don't like to make it too obvious, because if it is too obvious, it gets really stale. You shouldn't be in people's faces 100% all the time. We don't mean to be really cryptic or mysterious, but I just think that lyrics that are different and weird and spacey paint a nice picture. It's just the way I like art.”

Kurt Cobain (1967–1994) American musician and artist

Date unknown, but appears on Live! Tonight! Sold Out!!.
Interviews (1989-1994), Video

“I realized early on that the academy and the literary world alike — and I don't think there really is a distinction between the two — are always dominated by fools, knaves, charlatans and bureaucrats.”

Harold Bloom (1930–2019) American literary critic and scholar

Interview in Criticism in Society (1987), edited by Imre Salusinski.

“When I have to think about it, I know the picture is wrong. And sizing is a form of thinking and coloring is too. My instinct about painting says, 'If you don’t think about it, it's right'. As soon as you have to decide and choose, it's wrong. And the more you decide about, the more wrong it gets. Some people, they paint abstract, so they sit there thinking about it because their thinking makes them feel they're doing something. But my thinking never makes me feel I'm doing anything.”

Andy Warhol (1928–1987) American artist

Source: 1975, The Philosophy of Andy Warhol (1975), p. 149

“.. in an review of the exhibition in Arti, [in Amsterdam] you say that most of my submissions are not meant as a study. I don't know what you mean by study. I understand a study as a work I am painting directly after nature, with the aim hold on the casual tone, color and line. All of mine that is presented there, is immediately felt in nature and not one of the sketches is done by heart after received impressions for any paintings. I thought I had to tell you this, because then you might get a different view of it - whether you think they are more worthy or not because of this, I don't want to judge.... yours GH Breitner”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

Mejufvrouw In een stukje over de Tent. in Arti zegt u dat het meerendeel van mijn inzending niet als studie bedoeld zijn. Ik weet niet wat u onder studie verstaat. Ik versta daar onder wat men direct naar de natuur schilderd om de toevallige toon kleur en lijn vast te houden. Na alles wat er van mij is. is dadelijk naar de natuur ervaren en zijn geen van allen [1:2] schetsen uit het hoofd gedaan na ontvangen indrukken voor eventuelen schilderijen. Ik meende u dat te moeten zeggen omdat u er dan misschien een anderen kijk op krijgt of u vind dat ze daarom verdienstelijker zijn of niet wil ik niet beoordeelen.. ..Hoogachtend uw GH Breitner
quote of Breitner in a letter to art-critic Grada Hermina Marius, 22 Feb. 1908; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/951
1900 - 1923

“Actually, one of the real problems that always bothers me [in creating a painting] is sustaining a feeling. I mean, when I look at Poussin now, well, I think that's the most incredible thing to maintain the feeling for a year, however long it took Poussin, I'm telling you, to paint this vast structure. Bur perhaps that is not given to us now. I don't know…. Actually all all modern art puzzles me. I don't understand it. II really don't. I don't know whether it is fragmentary [as David Sylvester the interviewer suggested]. I have a sickening nostalgia for this other state of sustaining a feeling for months, being able to construct and build a picture. Well Mondrian, I think, did that, of course. He was almost one of the last artists to do that. I wish I could get there.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 91-92

“To me, Pollock is the height of American painting. It's very lyrical. Gorky, who is very passionate, can copy a drawing or take a drawing and copy it exactly as a painting, and Miro can too, it's amazing. Miro can do a drawing to paint and that's another training in a sense. So there's a certain mannerism that comes in both of them [three], and probably everything becomes obvious in time. But I don't have that. The line is illustrated or the colour. I'm sure it has great feeling when they're doing it, but it's more towards defining something. It has a certain clarity because it's a complex thing. I'm a painter and my whole balance is not having to think about things. So all I think about is painting. It's the instinct for the placement where all that happens. I don't have to think about it. So I don't think of composition; I don’t think of colour here and there. Sometimes I alter something after. So all I could think is the rush... I cannot make a picture unless everything is working. It's like a state.”

Cy Twombly (1928–2011) American painter

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

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