“In this big moonlit landscape by the painter N. N., that deservedly celebrated technician, one sees more than one would wish, or that can actually be seen by moonlight. But what the perceptive, sensitive soul looks for in every painting, and rightly expects to find, is missing.... If that painter could find it in himself to paint fewer, but more deeply-felt, pictures instead of so many clever ones, his contemporaries and posterity would be more grateful to him.”

— Caspar David Friedrich

Quote from his writings Thoughts on Art, Caspar David Friedrich; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 33
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Caspar David Friedrich31

Swedish painter 1774–1840

Ad Reinhardt (1913–1967) American painter

1940 - 1955
Source: Contemporary American Painting, University of Illinois, Urbana 1952, p. 226

“He (Delacroix) turns David [French painter] upside down. His painting is iridescent. Seeing one Constable [famous English landscape painter, admired by French painters, then] is enough to make him understand all the possibilities of landscape, and he too sets up his easel by the sea... And he has a sense of human being, of life in movement, of warmth. Everything moves, every glistens. The light!... There is more warm light in this interior [probably: Delacroix's 'Woman of Algiers'] of his than in all of Corot's landscapes..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 196 in: 'What he told me – II. The Louvre'

“A painter paints his pictures on canvas. But musicians paint their pictures on silence.”

Leopold Stokowski (1882–1977) British conductor

Addressing an audience at Carnegie Hall, as quoted in The New York Times (11 May 1967); often this is quoted without the humorous final sentence.
Context: A painter paints his pictures on canvas. But musicians paint their pictures on silence. We provide the music, and you provide the silence.

“The painter should not paint what he sees, but what will be seen.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Mauvaises Pensées et Autres (1941)

“A great portrait is always more a portrait of the painter than of the painted.”

Samuel Butler (1835–1902) novelist

Portraits
The Note-Books of Samuel Butler (1912), Part VII - On the Making of Music, Pictures, and Books

“I can hardly describe the discord produced by the comparison of the retouched part of the painting and the part left untouched, the former having lost entirely the immediacy and brio of the brushwork and the latter the mastery of sensitive and discerning touches... For it is true that the more one retouches under the pretext of restoration, the more harm one does, and even the artists themselves, were they able to return, would not able to retouch their painting perfectly on account of the necessary change in the hue of pigments over time… No painting by Titian should be relined, nor any paintings by a number of other painters.... and, even when it is possible, the operation is more likely to result in deterioration than in improvement of the painting.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

from his Letters 263-264. circa 1801; in Goya, A life in Letters, edited and introduced by Sarah Simmons; translations by Philip Troutman, London, Pimlico, 2004
Early 1801 - Goya was then First Painter of the Court - the artist is sent to check the results of some restoration operated on works belonging to the Spanish crown. His 263-264 letters reveal the total opposition of Goya against any cleaning or restoration of older paintings
1800s

“Just as the reverent man prays without uttering words, and the Lord hears him, the sensitive painter paints, and the sensitive man understands and recognizes him, but even the more obtuse carry away something from his work.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote of Friedrich, in Romanticism and realism : the mythology of nineteenth-century art - (from Chapter: Friedrich and the language of Landscape https://msu.edu/course/ha/445/rosenfriedrich.pdf), Charles Rosen and Henri Zerner; Viking Press, New York, 1984, p. 63 <br class="br">undated

“Painting, in the beginning, was a trade like any other. Some men became picture-makers as others became glaziers or carpenters. Painters painted shields, saddles and banners. The primitive painter was more of a craftsman than we are; he learned his trade superlatively well before he thought of letting himself go. The reverse is true today.”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 339)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“I've always been told that I was a painter's painter... What does that mean?... That painters like my painting and the big wide world overlooks it, I suppose?... Well, I know... To me, it would have meant that - this is pre this new rage in buying and selling paintings - that, I think, that the formal values, like light, space, color, all those things that a painting is made up of, as well as the Jacob going up the ladder or Venus on the half shell or something [chuckles] would be what interested the painter. And perhaps the public would want the picture of the Christ child, so to speak. You know what I mean.”

Joan Mitchell (1925–1992) American painter

Tape number two, side A
1975 - 1992, Oral history interview with Joan Mitchell, 1986

“There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.”

Henri Matisse (1869–1954) French artist

As quoted in obituaries (5 November 1954)
1950s

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Caspar David Friedrich31

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