“.. I also send the picture of the 'Trinity' [also called La Gloria].... in my wish to satisfy your C. M. [Caesarean Majesty] I have not spared myself the pains of striking out two or three times the work of many days to bring it to perfection and satisfy myself, whereby more time was wasted than I usually take to do such things.... the portrait of Signor Vargas [agent of Charles V, who was paying Titian for his works] introduced into the work [very probably in the 'La Gloria' / 'Trinity'] was done at his request. If it should not please your C. M. any painter can, with a couple of [brush] strokes, convert it into another person.”

— Titian

In a letter from Venice to the Spanish emperor Charles V in Bruxelles, 10 Sept. 1554; original in the 'Appendix' of Titian: his life and times - With some account of his family... Vol. 2., J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, p. 231-232
Titian is announcing in his letter the completion and the delivery of the paintings 'Trinity' and 'Addolorata' and probably a third painting 'Christ appearing to the Magdalen', for Mary of Hungary
1541-1576

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Titian 20

Italian painter 1488–1576

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“.. About my work Howard – I always have two opinions – one is my way of seeing it for myself – and for myself I am never satisfied – never really – I almost always fail – always I think – now next time I can do it – Maybe that is part of what keeps one working – I can also look at myself – by that I mean my work from the point of view of the looking public – and that is the way I look at it when I think of showing. I have always first had a show for myself – and made up my mind – then after that it doesn't matter to me very much what anyone else say – good or bad.”

Georgia O'Keeffe (1887–1986) American artist

In a letter to William Howard Schubart, (nephew of her died husband), Abiquiu, New Mexico, August 4, 1950; as quoted in Voicing our visions, -Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 228
1950 - 1970

“I should be acting the part of an ungrateful servant, unworthy of the favours which unite my duty to your great kindness, if I were not to say that his Majesty [ Charles V ] forced me to go to him and pays the expenses of my journey, I start discontented because I have not fulfilled your wish and my obligation in presenting myself to my Lord [ Pope Paul III ] and yours, and working in obedience to his intentions [to paint the Pope's portrait].... But I promise as a true servant to pay interest on my return with a new picture in addition to the first.... So with your license, Padron mio unico, I shall go, whither I am called, and returning with the grace of God, I shall serve you with all the strength of the talents which I got from my cradle..”

Titian (1488–1576) Italian painter

In a letter to Cardinal Farnese in Rome, from Venice 24th December 1547; after the original in Rochini's 'Belazione' u.s. pp. 9-10; as quoted in Titian: his life and times - With some account of his family... Vol. 2., J. A. Crowe & G.B. Cavalcaselle, Publisher London, John Murray, 1877, pp. 164-165
Titian had to chose between Pope & Emperor when they were on the worst of terms; he decided to obey the Emperor Charles V who ordered Titian to come to his court at Augsburg, Germany
1541-1576

“In the course of my inquiries, I met with the work upon the Trinity, by Dr. Samuel Clarke. This I carefully examined, and although very far from being satisfied, I ceased from further inquiry. This change arose probably from my having acquired the much more valuable work of the same author, on the Being and Attributes of God. This I studied, and felt that its doctrine was much more intelligible and satisfactory than that of the former work. I may now state, as the result of a long life spent in studying the works of the Creator, that I am satisfied they afford far more satisfactory and more convincing proofs of the existence of a supreme Being than any evidence transmitted through human testimony can possibly supply.”

Charles Babbage Passages from the life of a philosopher

"Passages from the life of a philosopher", The Athanasian Creed , p. 403
Passages from the Life of a Philosopher (1864)

“To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It’s not easily done. I am not able to do “one, two, a painting.” I try to do it very quickly, but it doesn’t work with me. I simply can’t do it. Very often people look and say, 'Ah, fantastic! That’s a beautiful painting.'”

Per Kirkeby (1938–2018) Danish artist

But the moment they are out the door I start working on it. I rework it.
In a talk with Kosinski, before 'Per Kirkeby at the Phillips', in The Phillips Collection, Washington D.C. January, 2013
Kirkeby spoke to exhibition co-curator Dorothy Kosinski about the necessity of time in the development of a painting.
1995 and later

“Roger: I also have been producing/recording more and more, and that takes time, too. But that's what i always wanted to do, work on music,, so it's not a bad thing.”

Roger Manganelli (1973) American musician

“I feel that, you know, the enormous luck I've had in being able to make a living, and to never have had to have written one word that I didn't want to write, to be able to have satisfied that dictum I set for myself, which was not to work for pay, but to be paid for my work — just to be able to satisfy those standards that I set for myself has been an enormous privilege.”

Leonard Cohen (1934–2016) Canadian poet and singer-songwriter

Interview with BBC Radio 1FM (1994)

“.. I kissed the hand of Don Alvise Davila, who said he was your friend, and begged me to tell you he would soon prove it. I would have done the same by Signor Antonio da Leva, but that there was no time. He came to see the Emperor [Charles V], and only staid half a day, and there were so many visitors that I could not kiss his hand. But should we meet I shall do my duty, and attend to your interests without regard to the consequences. No more on this head. Here nothing is heard but the roll of drums, and everyone is starting for France. I hope soon to be with you, when we shall have much to say to each other. Bas las manos a vuestra merced and also those of Alvise Anichini.”

Titian (1488–1576) Italian painter

Quote in his letter to Titian's friend and agent Pietro Aretino, From Asti, 31 May, 1536; in Lettere a Pietro Aretino, i. p. 146 and reprinted in Ticozzi (Vecelli, p. 309); transl. J.A.Y. Crowe & G.B. Cavalcaselle
At Asti, it would seem, Titian was quite in Spanish waters. He doubtless met and perhaps again portrayed the Emperor Charles V.
1510-1540

“Partly through choice, I was never willing to hire out more than three days a week [making illustrations for the magazines to support himself, c. 1912] I kept some time to do my own work. Illustrating was a depressing experience. And I didn't get very good prices because I didn't often do what they wanted.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

Quote in: 'Edward Hopper: The Emptying Spaces', Suzanne Burrey; in 'Art Digest', April 1, 1955 pp. 8 - 10
1941 - 1967

“I have done all that I came into this world to do. I have worked task work, and have the rest of the day to myself.”

Charles Lamb Last Essays of Elia

“The superannuated man”
Last Essays of Elia (1833)

“Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight... When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Paris, 15 May 1906 to Otto Modersohn in Worpswede; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 204
1906 + 1907

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