“Stealing, of course, is a crime, and a very impolite thing to do. But like most impolite things, it is excusable under certain circumstances. Stealing is not excusable if, for instance, you are in a museum and you decide that a certain painting would look better in your house, and you simply grab the painting and take it there. But if you were very, very hungry, and you had no way of obtaining money, it might be excusable to grab the painting, take it to your house, and eat it. -Lemony Snicket”

— Daniel Handler , book The Wide Window

The Wide Window (2000)

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Daniel Handler 190

American novelist, children's writer, creator of Lemony Sni… 1970

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“But I find, because of modern painting, that things which couldn't be seen in terms of painting, things you couldn't paint.... it is not that you paint them, bit is the connection. I imagine that Cézanne, when he painted a ginger pot with apples, must have been very grotesque in his day, because a still life was something set up of beautiful things. It may be very difficult, for instance, to put a Rheingold bottled beer on the table and a couple of glasses and a package of Lucky Strike [cigarets]. I mean, you know, there are certain things you cannot paintat a particular time, and it takes a certain attitude how to see those things, in terms of art.”

Willem de Kooning (1904–1997) Dutch painter

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 54
1960's

“Excuse me, you have binoculars in the second row... and there're zoom... What exactly were you looking at there?... Very cute... Well, get your money's worth, honey.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

The Evolution Tour: Live in Miami
2007, 2008

“…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.”

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

Quoted in: Paul Jones (2011), The Sociology of Architecture: Constructing Identities. p. 47.
Other explanation by Picasso of the Guernica.
Quotes, 1930's

“It's a sort of infantile thing, painting. Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can't take the time because the idea doesn't correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paint sticks... So I had to find things that I could use, like my hands or the paint sticks... And I did those charts, big palettes... two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task.”

Cy Twombly (1928–2011) American painter

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

“I would like to suggest to you that you ‘grab life by the horns’ and do not let life grab you by the horns. You take control of your lives. … Do not let life control you. … Take charge. Rise to the divinity that is within you.”

Gordon B. Hinckley (1910–2008) President of The Church of Jesus Christ of Latter-day Saints

Ensign, June 2003, 74–75.

“Take care for purity in the paint and not so stinky thick of grease, thin, thin, thin! And just on the light [parts in the painting] here and there a small push of thick [paint].... thick house-interiors are unpleasant - long drawing before you start and arrange pleasantly together all things before you start to paint - if the money does not bother you, it is always useful to visit Rott. [Rotterdam].”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat van Jozef Israëls' brief, in het Nederlands): Zorg voor zuiverheid in de verf en niet zoo stinkerig dik van smeerderij, dun, dun, dun, en zo op het licht hier en daar een zetje dik[ke verf].. ..dikke binnenhuizen zijn onaangenaam - lang teekenen voor je begint en het prettig bij elkaar arrangeren voor gij aan het verwen gaat - als het geld u niet begroot, is het altijd nuttig om eens naar Rott. [Rotterdam!?] te gaan.
Quote of a letter by Jozef Israels to painter David de la Mar, 1867; as cited in Mythen van het Atelier, ed. Mayken Jonkman & Eva Geudeker; d'jonge Hond, Zwolle/The Hague, 2010 – ISBN 9789089102065 ( source online http://delamar.bntours.nl/!mad1832-bronnen.html)
Israels' painting technique did develop only rather slowly. In 1867 he still gave this rather traditional academic advice to the young painter nl:David de la Mar
Quotes of Jozef Israels, 1840 - 1870

“If you are allergic to a thing, it is best not to put that thing in your mouth, particularly if the thing is cats. -Lemony Snicket”

Daniel Handler book The Wide Window

The Wide Window (2000)

“Don't you dare take the lazy way. It's too easy to excuse yourself because of your ancestry. Don't let me catch you doing it! Now -- look close at me so you will remember. Whatever you do, it will be you who do.”

John Steinbeck book East of Eden

Source: East of Eden

“.. Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings…. at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently…. For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now…. they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28
1960s

“I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.”

Mark Rothko (1903–1970) American painter

1950's
Source: Interiors, Vol. 110, no 10, May 1951; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 172

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