“With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not.”

Source: 1960's, The Bride and the Bachelors, (1962), pp. 203-204

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Robert Rauschenberg47

American artist 1925–2008

Franz Kline (1910–1962) American painter

1950's, Conversations With Artists, 1957

“It was as if I suddenly went to a foreign country but didn't know the language, but had read enough and had a passionate interest, and was eager to live there, I wanted to live in this land; I had to live there, and master the language. [reacting on Pollock's 'Black and White' paintings show in 1951; Frankenthaler saw his painting art then for the first time in her life]”

Helen Frankenthaler (1928–2011) American artist

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

“I don't think of my work as calligraphic. Critics also describe Jackson and De Kooning as calligraphic painters but calligraphy has nothing to do with us. It's interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing. People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.”

Franz Kline (1910–1962) American painter

Quote, (1958)
1960's, Talks with Seventeen Artists, 1962

“If a man has not studied painting, or at any rate black and white drawing, his eyes are wild; learning to draw tames them. The first step towards taming the eyes is to teach them not to see too much.”

Samuel Butler (1835–1902) novelist

Seeing
The Note-Books of Samuel Butler (1912), Part IX - A Painter's Views on Painting

“But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..”

Franz Kline (1910–1962) American painter

Quote of Kline in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', Spring 1963; as cited in Interviews with American Artists, David Sylvester; Chatto & Windus, London 2001, pp. 61-62
1960's

“To give without sympathy is to build a temple without the idol and is as futile as painting a picture with black ink on a black-board.”

Chinmayananda Saraswati (1916–1993) Indian spiritual teacher

Quotations from Gurudev’s teachings, Chinmya Mission Chicago

“My old landscapes of Pennsylvania are worth so much now that I have to hide them, so I don't get put in an even higher tax bracket. For years nobody would pay a dime for them. They're still the same paintings. They didn't get any better. I treasure them as much as my recent black and white abstracts... My dealer was furious when I showed him my latest works. I'm returning to color. He tells me to ride it out and change when the fashion change. I told him no! I told him I paint each painting from the heart. I have followed my heart all my life.”

Franz Kline (1910–1962) American painter

1959
Quote from a speech of Kline in the jazz club The Five Spot, as quoted in Introduction by David Anram, The Stamp of Impulse, Abstract expressionist prints, David Anram, David Acton, p. 21
1960's

“If I am an angel, paint me with black wings.”

Anne Rice book The Vampire Armand

Source: The Vampire Armand

“Sylvester: When was it that you first did a painting with one or two simple lines, horizontal or vertical, across the surface?
Newman: I would say that it began in '46— '47. In those years, whenever I did a painting with one or two elements in it, it did always have a sense of an atmospheric background, I suppose — with the exception of a painting which I called Euclidian Abyss, where the background is black and has some of the white coming through, but there's no true atmosphere.”

Barnett Newman (1905–1970) American artist

Source: 1960 - 1970, Interview with David Sylvester 2. Spring 1965, p. 255

“At my age [74], you realize that some things have caught you. You can see that as a positive or a negative. On the negative side: Are you in a routine, unconsciously adapting to things that work well?.... The black Masonite [board, Kirkeby used to underlayment for his painting].... by not painting them black and instead making them beautiful, I’ve wondered if I have sold that particular idea. Edvard Munch, as he got older, sat at his home and painted like a wild man. Those works were not very popular and have come to be considered the 'wrong' Munch. But that’s how you need to be when you get old. I call it the arrogance of age: You don’t need recognition. You just don’t care.”

Per Kirkeby (1938–2018) Danish artist

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

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