“The final test of painting, theirs, mine, any other, is; does the painter’s emotion comes across?.... Procedure is the keyword.... The difference is that we don't begin with a definite sense of procedure. It's free association from the start to the finished state. The old idea was to make use of your talent. This, we feel, is often to take the line of least resistance.... painters like Rothko, Pollock, Still, perhaps in reaction to the tendency to analyze which has dominated painting from Seurat to Albers, associate with very little analysis. A new form of expressionism inevitably followed. With De Kooning the procedure is continual change, and the immediacy of the change. With Jackson, it's the confidence you feel from the concentration of his energy in a given picture..”

— Franz Kline

1958
Quote from Kline, in Conversations with Artists, Seldon Rothman, New York Capricorn Books, 1961, p. 106 - 109: Talk ing about the Abstract expressionists
1960's

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Franz Kline20

American painter 1910–1962

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28
1960s

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

“Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting..”

Titian (1488–1576) Italian painter

As quoted in The Quotable Artist (2002) by Peggy Hadden, p. 71.
As quoted in The Quotable Artist (2002) by Peggy Hadden, p. 72.
undated quotes
Variant: They who are compelled to paint by force, without being in the necessary mood, can produce only ungainly works, because this profession requires an unruffled temper.

“In 1940, some of us woke up to find ourselves without hope – to find that painting did not really exist. Or to coin a modern phrase, painting.... was dead. The awakening had a exaltation of a revolution. It was that awakening that inspired the aspiration – the high purpose – quite a different thing from ambition – to start from scratch, to paint as if painting never existed before. It was that naked revolutionary moment that made painters out of painters.”

Barnett Newman (1905–1970) American artist

in Jackson Pollock: An Artists Symposium, ARTnews Vol. 66 no. 2 April 1967; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, pp. 147-148
1960 - 1970

“So you can't take credit for your talents, but it really matters if you use them. You can't really be blamed for your weaknesses and your failings, but it matters if you correct them. Pride and shame don't make a lot of sense in the final analyses. But they were no fun anyway. These are isolating emotions. What does make sense are things like compassion and love: caring about well-being makes sense; trying to maximize your well-being and the well-being of others makes sense. There is still a difference between suffering and happiness, and love consists in wanting those we love to be happy. All of that still makes sense without free will.”

Sam Harris (1967) American author, philosopher and neuroscientist

Sam Harris at Sydney Opera House Festival of Dangerous Ideas 2012, Discussion on Free Will http://www.youtube.com/watch?v=JM3raA1EwrI. <br class="br">2010s

“Painting, in the beginning, was a trade like any other. Some men became picture-makers as others became glaziers or carpenters. Painters painted shields, saddles and banners. The primitive painter was more of a craftsman than we are; he learned his trade superlatively well before he thought of letting himself go. The reverse is true today.”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 339)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“For example, Rothko and I came to an agreement on the question of the subject matter; if we were to do something which could develop in some direction other than the accepted directions of that time, it would be necessary to use different subjects to begin with, and 1942, we embarked on a series of paintings that attempted to use mythological subject matter, preferably from Greek mythology. I did a series of paintings on the theme of Oedipus and Rothko did a series of paintings on other Greek themes….. this offered a possibility of a way out [of a. o. Social Realism and Cubism ]”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in ‘Living Arts, June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 31
1960s

“The important thing is that Clyff Still – you know his work? – and Rothko, and I – we've changed the nature of painting… I don't mean there aren't any other good painters. Bill [ Willem the Kooning ] is a good painter, but he's a 'French' painter [Pollock meant: a French-abstract style]. I told him so, the last time I saw him after his last show,… all those pictures in his last show start with an image. You can see it even though he's covered it up, or tried to…. Style – that's the French part of it. He has to cover it up with style.. [answering Seldon Rodman's question]”

Jackson Pollock (1912–1956) American artist

In an interview (1956); published in Conversations with Artists, by Seldon Rodman, New York, Capricorn Books, 1961, pp. 84-85
1950's

“There is something ridiculous and miserly in the myth we inherit from abstract art: That painting is autonomous, pure and for itself, and therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities', which forces painting’s continuity. We are image-makers and image-ridden. There are no 'wiggly or straight lines' or any other elements. You work until you vanish. The picture isn’t finished if they are seen.”

Phillip Guston (1913–1980) American artist

transcript of the panel, March 1960, held at the Philadelphia Museum School of Art, as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p.61
1950 - 1960

“The artist's tool or the traditional artist's brush and maybe even oil paint are all disappearing very quickly. We use mostly commercial paint, and we generally tend toward lager brushes. In a way, Abstract Expressionism started this all. De Kooning used house painter's brushes and house painters' techniques.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

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