quote about shades and drawing
1960s, Interview with Barbara Rose', Archives - American Art, 1968
“I have broken the blue boundary of color limits, come out into the white, besides me comrade-pilots swim in this infinity. I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea lies before you.”
In the 'Catalogue 10th State Exhibition', Kasimir Malevich, Moscow, 1919; as quoted in Autocritique, – essays on art and anti-art 1963 – 1987, Barbara Rose, Weidenfeld & Nicolson, New York, 1988, p. 71
1910 - 1920
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Kazimir Malevich 31
Russian and Soviet artist of polish descent 1879–1935Related quotes

both quotes in a letter to William M. Milliken, New York November 1, 1930; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 227
1930s

note from his postcard, late May 1943; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
1940's
“I want color and form to have contradictorily functions.”
Quote from: 'Albers Paints a Picture' Elaine de Kooning, Art News 49, November 1950, p. 57; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 67
Schwitters (1921) in: Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 68-69.
1920s

I Am a Child, from Last Time Around (1968)
Song lyrics, With Buffalo Springfield

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph
1911 - 1914

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 50.
1960's

Diary-note (Tunisia, 16 April 1914), # 926; as quoted by Suzanne Partsch in Klee (reissue), Benedikt Taschen, Cologne, 2007 - ISBN 978-3-8228-6361-9, p. 20
1911 - 1914, Diary-notes from Tunisia' (1914)

“It is something gained when the colored man in any form can appear before a white audience”
" Gavitt's Original Ethiopian Serenaders http://utc.iath.virginia.edu/minstrel/miar03at.html," The North Star (Rochester, N. Y.: 29 June 1849).
1840s
Context: Partly from a love of music, and partly from curiosity to see persons of color exaggerating the peculiarities of their race, we were induced last evening to hear these Serenaders. The Company is said to be composed entirely of colored people, and it may be so. We observed, however, that they too had recourse to the burnt cork and lamp black, the better to express their characters and to produce uniformity of complexion. Their lips, too, were evidently painted, and otherwise exaggerated. Their singing generally was but an imitation of white performers, and not even a tolerable representation of the character of colored people. Their attempts at wit showed them to possess a plentiful lack of it, and gave their audience a very low idea of the shrewdness and sharpness of the race to which they belong. With two or three exceptions, they were a poor set, and will make themselves ridiculous wherever they go. We heard but one really fine voice among the whole, and that was Cooper's, who is truly an excellent singer; and a company possessing equal ability with himself, would no doubt, be very successful in commanding the respect and patronage of the public generally. Davis (the Bones) too, is certainly a master player; but the Tambourine was an utter failure. B. Richardson is an extraordinary character. His Virginia Breakdown excelled anything which we have ever seen of that description of dancing. He is certainly far before the dancer in the Company of the Campbells. We are not sure that our readers will approve of our mention of those persons, so strong must be their dislike of everything that seems to feed the flame of American prejudice against colored people; and in this they may be right, but we think otherwise. It is something gained when the colored man in any form can appear before a white audience; and we think that even this company, with industry, application, and a proper cultivation of their taste, may yet be instrumental in removing the prejudice against our race. But they must cease to exaggerate the exaggerations of our enemies; and represent the colored man rather as he is, than as Ethiopian Minstrels usually represent him to be. They will then command the respect of both races; whereas now they only shock the taste of the one, and provoke the disgust of the other. Let Cooper, Davis and Richardson bring around themselves persons of equal skill, and seek to improve, relying more upon the refinement of the public, than its vulgarity; let them strive to conform to it, rather than to cater to the lower elements of the baser sort, and they may do much to elevate themselves and their race in popular estimation.