“My first lesson in relativity:.. we had a still life set-up to paint. Suddenly I saw that the pitcher was so big [his hands outside the shape of a pitcher, then close in] and the glass was so big. From that time on everything was all right. [Tobey is remembering his Saturday morning painting class]”

A Tobey Profile, quoted by Belle Krasne, Art Digest, 26 Oct. 15, 1951
1950's

Adopted from Wikiquote. Last update June 3, 2021. History

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Mark Tobey22

American abstract expressionist painter 1890–1976

Helen Frankenthaler (1928–2011) American artist

Quote from Abstract Expressionism, Barbara Hess, New York, Abrams, 1971, p. 29
1970s - 1980s

“I hired a good carriage and had myself driven to Menton, a delightful outing of several hours. Menton is wonderful and is in a splendid setting. I walked to Cap Martin, a famous spot between Menton and Monte Carlo. I saw two motifs there that I want to paint because they are so different from things here, where the sea plays no big part in my studies, where the sea plays no big plays no big part in my studies.”

Claude Monet (1840–1926) French impressionist painter

in a letter to his second wife Alice Hoschedé, 1884; as cited in: Christoph Heinrich, Monet, (2000), p. 64
1870 - 1890

“In 1946 it was the first time I saw a Van Gogh, a painting from his years in France. It was excactly what I had always felt here [in the fields of Friesland]: infinity, the unimaginable. I was bewildered and thought: who has been painting here for God's sake? Pink stripes in a green sky, you can't imagine! Ultramarine and carmine in the soil with a big yellow sun behind it..”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: In 1946 zag ik voor het eerst een Van Gogh, uit z'n Franse tijd. Dàt was wat ik hier [in Friesland] altijd gevoeld had: de oneindigheid, het onvoorstelbare. Ik was verbouwereerd, [en] dacht: wie is hier in godsnaam bezig geweest? Roze strepen in een groene lucht, moet je es nagaan. Ultramarijn en karmijn in de bodem, een grote gele zon erachter..
Mens & Gevoelens: Jopie Huisman', 1993

“I think I would choose Soutine... I've always been crazy about Soutine - all of his paintings. Maybe it's the lushness of the paint. He builds up a surface that looks like a material, like a substance. There's a kind of transfiguration, a certain fleshiness in his work... I remember when I first saw the Soutine's in the Barnes Collection.... the Matisse's had a light of their own, but the Soutine's had a glow that came from within the paintings - it was another kind of light.”

Willem de Kooning (1904–1997) Dutch painter

The impact of Chaim Soutine (1893-1943): de Kooning, Pollock, Dubuffet, Bacon, publisher: Hatje Cantz, Galerie Gmurzynska, Cologne (Köln), 2001.
Answer on the question who is his favourite artist, probably made around 1977.
1990's & from posthumous publications

“I had to go to the Bauhaus to the basic course that was given by Itten. And I submitted to that although I was a little older than Itten. But I have not the best memories of my studies there. So when that course was over everyone had to exhibit his work and then it was decided whether or not one could continue. I was accepted to continue. But I wanted to go into a workshop and I wanted to make stained glass. That was my old dream. Glass pictures. But Itten thought I was not ready for that. Certainly to delay my study in glass, Itten said, 'Glass painting is a branch of wall painting and you should go first to our wall painting workshop,' And I said, 'That's nonsense. Wall painting has to do with reflected light and glass painting with direct light.' So I said 'Sorry, I'll do my own stuff on my own.”

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

I had no money. Just a Rucksack and a hammer. And I started these assemblages. That was in 1921, But in all books on assemblages these things are not mentioned.
Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“Preparation is very important. The pitcher is going to do his job and prepare for you so you as a hitter must do the same. I always watch videotape of pitchers before the game and even sometimes during.”

Albert Pujols (1980) Dominican-American baseball player

When asked about the importance of preparation. http://sports.ign.com/articles/709/709384p1.html

“When I was young, I was so interested in baseball that my family was afraid I'd waste my life and be a pitcher. Later they were afraid I'd waste my life and be a poet. They were right.”

Robert Frost (1874–1963) American poet

“I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson.”

Ray Harryhausen (1920–2013) American animator

Source: An Animated Life (2003), p. 21

“I was surprised by photography, which we all use so massively every day. Suddenly, I saw it in a new way, as a picture that offered me a new view, free of all the conventional criteria I had always associated with art. It had no style, no composition, no judgment. It freed me from personal experience. For the first time, there was nothing to it: it was pure picture. That's why I wanted to have it, to show it - not use it as a means to painting, but use painting as a means to photography.”

Gerhard Richter (1932) German visual artist, born 1932

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

“I thought that the painter had no right to paint so unclearly....(but) the first faint doubt as to the importance of an 'object' as the necessary element in painting.”

Wassily Kandinsky (1866–1944) Russian painter

Kandinsky is remembering his experience that he saw one of the 'Haystack' paintings of Monet, for the first time in his life, in Moscow (1895)
Source: 1916 -1920, Autobiography', 1918, p. 10

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