“Almost all new French art [ French Impressionism ] has for me a flat, empty character without any distance and depth in colors. The paintings look like white sheets of paper with colors on it.”

— Jacob Maris

Bijna alle nieuwe Fransche kunst [Impressionisme] heeft voor mij een plat, leeg karakter zonder afstand en diepte in kleur. De schilderijen lijken witte velletjes papier met kleurtjes erop.
Quote of Jacob Maris, in: 'Veerpont - Jacob Maris', Frank van der Velden https://www.rembrandtcirkel.nl/ul/cms/attachment/file/document/6/0/7/607/607/1/veerpont.pdf; Vereniging Rembrandt, Spring 2005, p. 24
he lived for several years in Paris, till 1871

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Jacob Maris 7

Dutch painter 1837–1899

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“As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

“However, new plasticism is pure painting [in contrast with the opinion of Theo van Doesburg, then]: the means of expression still are form and color, though these are completely interiorized; the straight line and flat color remain purely pictorial means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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“Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from 'Eenheid' [Dutch art-magazine] no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, pp. 105–106
1912 – 1919

“I think that for me any picture that works even if it is in the guise of pure color application, if it works, involved drawing. That is falt space on a flat surface. And for me, and I always say this, whether it's a Titian or a [Kenneth] Noland, the ones that come off work in that depth and the color perhaps it is divine and the thing that makes it work, but it is line color. If it doesn't work then it's decorative or dead or just applied colors on a surface. That's what wallpaper is. And that's the difference between the striped wallpaper and a great Noland.”

Helen Frankenthaler (1928–2011) American artist

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1960s, Interview with Barbara Rose', Archives - American Art, 1968

“What man touches, he can become master of, but to paint that sky [French Riviera] without clouds, that well of light, is as hopeless a task as it would be to sound its depths.”

Jules Dupré (1811–1889) French painter

Quote of Dupré, c 1844-45; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye publisher, A. Wessels Company, New York, July 1902, p. 164
Together, Dupré and Theodore Rousseau struggled in vain for five months of 1844 with the constant fathomless azure blue of the southern sky

“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn (1914–1973) Danish artist

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255,
1940 - 1948, Various sources

“The large 'White Flower' [Georgia painted in 1929] with the golden heart is something I have to say about White – quite different from what White has been meaning to me. Whether the flower or the color is the focus I do not know. I do know that the flower is painted large to convey to you my experience of the flower – and what is my experience of the flower if it is not color.”

Georgia O'Keeffe (1887–1986) American artist

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

“As far as I am concerned, I learned this technique [the use of flat areas, painted in bright color - sometimes in contrasting juxtaposition, sometimes like pieces of colored glass in heavy dark outlines] from Kandinsky and, at the same time, from the glass paintings of the Bavarian peasants of the Murneau area, who had painted for centuries in this style.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

“With this new tendency [of Orphism] the Cubists dubbed Impressionism of forms according to Appolinaire, is entering a final and glorious phase:.. Orphism, pure painting, simultaneity. And there you have it, as many obvious plagiarisms of what has formed, from its earliest appearances, the essence of Futurist painting and sculpture…. But we insist on sorting things out. Orphism [initiated by former Cubist artist Robert Delaunay as an colorful alternative for strict Cubism ], let us say it right away, is just an elegant masquerade of the basic principles of Futurist painting. This new trend simply illustrates the profit that our French colleagues managed to driver from our first Futurist exhibition in Paris.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni's critical art quote to Orphism and simultaneity pictures Orphism, as alternative concept for Cubism as a soft version of Futurist painting; in 'Les futurists plagues en France', Boccioni, in 'Lacerba', Florence 1, no. 7, 1 April 1913
1913

“In visual perception a color is almost never seen as it really is — as it physically is. This fact makes color the most relative medium in art.”

Josef Albers (1888–1976) German-American artist and educator

Quoted in: Margaret Walch (1979) Color source book, p. 98

“Almost all new French art [ French Impressionism ] has for me a flat, empty character without any distance and depth in colors. The paintings look like white sheets of paper with colors on it.”

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Jacob Maris 7

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