“If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying – for however long it takes – until I think it has improved. And I don't demand an explanation from myself as to why this is so.”

— Gerhard Richter

Quote in an interview with Astrid Kaspar, 2000; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5 <br class="br">after 2000

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Gerhard Richter96

German visual artist, born 1932 1932

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“When I am in my painting, I am not aware of what I'm doing. It is only after a short of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.”

Jackson Pollock (1912–1956) American artist

In 'Possibilities', Vol. 1, no 1, winter 1947-48, p. 79; as quoted in Jackson Pollock (1983) by Elizabeth Frank, p. 68
1940's

“I think of myself as an American artist: I like it here... I feel I represent the U. S. in my art but I'm not a social critic. I just paint those things in my paintings because those things are the things I know best. I'm not trying to criticize the U. S. in any way, not trying to show up any ugliness at all. I'm just a pure artist, I guess. But I can't say if I take myself seriously as an artist. I just hadn't thought about it. I don't know how they consider me in print, though.”

Andy Warhol (1928–1987) American artist

Quote of Warhol in Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467
1963 - 1967

“I have studied the subject and painted it directly to nature [his painting 'Scheveningen strandgezicht / Scheveningen, beach view'] and I have tried to reproduce that motif simply and unaffectedly, with no desire to make a painting with a lot of 'éclat' [glow].”

Hendrik Willem Mesdag (1831–1915) painter from the Northern Netherlands

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Hendrik Willem Mesdag's brief, in het Nederlands:) Ik heb het onderwerp bestudeerd en geschilderd direct naar de natuur [zijn schilderij 'Schevenings strandgezicht' uit 1869] en ik heb getracht dat motief eenvoudig en ongekunsteld weer te geven, zonder er een schilderij met veel éclat van te willen maken.

In a letter to his Belgium friend, the painter A. Verwee, 19 March 1870; as cited in Hendrik Willem Mesdag 1831 – 1915; De Schilder van de Noordzee, Johan Poort; Mesdag Documentaire Stichting cop, ISBN 90-74192-14-9; 2001, p. 15
before 1880

“I believe that painting, in our meaning, is structures. Each application of paint to a surface is structure. This is, of course, self-evident, but a superstructure of meaning can occur. One can have various motives for doing it. And here that difficult motif comes in. I believe that a ruthless accumulation of structure reworkings leads to one meeting one's motif. One's life-motif, so to speak. That which one has and does not know that one has it. A sort of geology, as when, in a constant process, sedimentation and erosion makes the earth we live on like it is now, without any meaning in itself in a rational sense, but accepted as that upon which we live in this life..”

Per Kirkeby (1938–2018) Danish artist

Source: 1965 - 1995, Bravura', Per Kirkeby, (1982), chapter 'Klee and the Vikings', p. 83

“I make what it pleases me to make.... I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason. I intuitively paint flags.”

Jasper Johns (1930) American artist

Quote of Jasper Johns, as cited in Trend to the Anti-Art: Targets and Flags, Newsweek 51 no. 13, March 1958, p. 96
1950s

“I've painted for a very long time, but I don't get tired or bored by it; I love to do it. If I don't paint one day, I don't feel well physically or mentally. My eyes bother me when I don't paint. But when I paint a full day, I feel satisfied and everything seems to be OK. I would never stop, never retire. I don't see how people can retire; I don't understand that. My brother Moses died while he was painting. He was actually working on a painting, and the last words he said were to the model: "Phoebe, don't frown."”

Raphael Soyer (1899–1987) American artist

Then he died. He worked to the very last minute.
As quoted in Paper Lanterns (Quotations from The Sun) p. 59.

“I know I must live in France, but I don't want to cut myself off from America. France is a picture already painted. America still has to be painted. Maybe that's why I feel freer there. But when I work in America, it's like shouting in a forest. There's no echo.”

Marc Chagall (1887–1985) French artist and painter

as quoted by Joseph A. Harriss, in 'The Elusive Marc Chagall', - the 'Smithsonian Magazine', December 2003 https://www.smithsonianmag.com/arts-culture/the-elusive-marc-chagall-95114921/ <br class="br">after 1930

“I have always been structured. What has changed is the proportions. Now it is eight hours of paperwork and one of painting. I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“It's more like I'm having an experience than making a picture. So I've never had anyone around. I never have. People are different, but I have to really be with no interference. And it takes me hours. Painting a picture is a very short thing if it goes well, but the sitting and thinking... I usually go off on stories that have nothing to do with the painting, and sometimes I sit in the opposite room to where I work. If I can get a good hot story I can paint better, but sometimes I'm not thinking about the painting, I'm thinking about the subject. Lots of times I'll sit in another room and then I might just go in. It takes a lot of freedom. I'm working for two years on a subject now: ten paintings, and that can carry on for two years. I worked last summer and I started this summer and with just the simplest motif I just can't seem to do it. And everything slowed down.”

Cy Twombly (1928–2011) American painter

Source: 2000 - 2011, Cy Twombly, 2000', by David Sylvester (June 2000), pp. 179-180

“I don't like that word 'finish'. When something is finished, that means it's dead, doesn't it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.”

Arshile Gorky (1904–1948) Armenian-American painter

quote of 1948
1942 - 1948
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p 32

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