“From the moment painting ceased to be religious it started to decay, so that now it has reached a childishness that borders on idiocy. People who admire it are even greater idiots than those who paint. Art loses all reason for being if it's not animated by a great feeling.”

Page 144, "Dinner at nine. Dammit!"
Roma (1953)

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Aldo Palazzeschi6

Italian novelist, poet and essayist 1885–1974

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“The idea of research has often made painting go astray, and made the artist lose himself in mental lucubrations. Perhaps this has been the principal fault of modern art. The spirit of research has poisoned those who have not fully understood all the positive and conclusive elements in modern art and has made them attempt to paint the invisible and, therefore, the unpaintable.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

As quoted by Marius de Zayas, in 'The Arts', New York, May 1923
1920s, The Arts', New York, May 1923

“My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking purely through colour... And now I leave these small – but to me – important works to the future and to the people who love art.”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938 - after 1937 Jawlensky couldn't paint any longer because of severe arthritis
Source: 1936 - 1941, Life Memories' (1938), p. 249

“[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art']…. my heritage was all those things; [De Stijl, Constructivism, Cubism, Surrealism ] simultaneously, so I am all those things. I hope with a very strong intellectual regard for Cubism, and an admiration for it, because it was great at a particular time. It was both painting and sculpture. It was a great point of liberation in both painting and sculpture, and especially sculpture. [David Smith was one of the few sculptors in the art scene of American Abstract Expressionism ]”

David Smith (1906–1965) American visual artist (1906-1965)

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 8
1960s

“In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it’s a loss that has done a great deal of damage to modern art. Painting is a return to origins.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

In an interview on the BBC arts program 'Omnibus', (1990); as quoted in 'Antoni Tàpies a Painter With Textures, Dies at 88', by William Grimes, in 'The New York Times', 8 Febr, 2012, p. B17
1981 - 1990

“By now it has become a formula to attach new ideas on the grounds of extremism and unintelligibility. Every phase of modern art has in turn been attacked on these grounds, until the new phase became acceptable. Although the present attacks are focused on those who emphasize the subjective side of abstract painting, the threat to other sections of the modern painting is implicit. The attacks are always focused on those who are considered the black sheep, for reasons of non-conformity. They are conspicuous, because they are different, and therefore may be easy targets.”

Adolph Gottlieb (1903–1974) American artist

Gottlieb's comment on the attacks on artistic freedom in the United States, 1948
Quote from Gottlieb's lecture at Forum: the Artist Speaks, museum of Modern Art, New York, May 5, 1948.
1940s

“Only those who have experienced the elation and despair which comes from the attempt to express their feelings about vision in oil paint will know that it is impossible to speak with complete impartiality about art.”

Roger Fry (1866–1934) English artist and art critic

Characteristics of French Art' 1931.
Art Quotes

“About Van Gogh.. a man who is on fire, a torch. His sincerity is absolute. His best painting is the grain field where he kills himself. There we find ourselves at the border of the art of painting. We cannot go further.”

Bram van Velde (1895–1981) Dutch painter

1980's
Source: Je peins l'Impossibilité de peindre, by M. Nuridsany, newspaper Le Figaro, 24-10-1989, p. 35, as quoted in Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 40 (English translation: Charlotte Burgmans)

“But you begin to feel as you go on working that unless painting proves its right to exist by being critical and self-judging, it has no reason to exist at all - or is not even possible. The canvas is a court where the artist is prosecutor, defendant, jury and judge. Art without a trial disappears at a glance.”

Phillip Guston (1913–1980) American artist

1961 - 1980, ARTnews Annual', October 1966

“Eschew the monumental. Shun the Epic. All the guys who can paint great big pictures can paint great small ones.”

Ernest Hemingway (1899–1961) American author and journalist

Letter (5–6 January 1932); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

“Idiots can do what I do. When I first started to do this [projecting photos on the canvas and painting them after having them traced in details with a piece of charcoal] in the 60's, people laughed. I clearly showed that I painted from photographs. It seemed so juvenile. The provocation was purely formal - that I was making paintings like photographs. Nobody asked about what was in the pictures. Nobody asked who my Aunt Marianne was. That didn't seem to be the point.”

Gerhard Richter (1932) German visual artist, born 1932

Richter's aunt had been murdered by the Nazis in the name of euthanasia, a crime for which his father-in-law from his first marriage, a Nazi doctor named Heinrich Eufinger, had been partially responsible. Richter painted a portrait of his aunt in 1965, based on an old photo. It was called 'Tante Marianne' / 9Aunt Marianne).
after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“From the moment painting ceased to be religious it started to decay, so that now it has reached a childishness that borders on idiocy. People who admire it are even greater idiots than those who paint. Art loses all reason for being if it's not animated by a great feeling.”

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Aldo Palazzeschi6

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