“In Antwerp I did not even know what the Impressionists were, now I have seen them and though not being one of the club, yet I have much admired certain Impressionist pictures – Degas, nude figure – Claude Monet, landscape. And now for what regards what I myself have been doing, I have lacked money for paying models, else I had entirely given myself to figure painting but I have made a series of colour studies in painting simply flowers, red poppies, blue corn flowers and myosotys. White and rose roses, yellow chrysantemums – seeking oppositions of blue with orange, red and green, yellow and violet, seeking THE BROKEN AND NEUTRAL TONES to harmonise brutal extremes. Trying to render intense COLOUR and not a grey harmony.”

— Vincent Van Gogh

Quote of Vincent van Gogh in his letter to Horace Mann Livens, from Paris, September or October 1886; from letter 569 - vangoghletters online http://vangoghletters.org/vg/letters/let569/letter.html
1880s, 1886

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Vincent Van Gogh 238

Dutch post-Impressionist painter (1853-1890) 1853–1890

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“The large 'White Flower' [Georgia painted in 1929] with the golden heart is something I have to say about White – quite different from what White has been meaning to me. Whether the flower or the color is the focus I do not know. I do know that the flower is painted large to convey to you my experience of the flower – and what is my experience of the flower if it is not color.”

Georgia O'Keeffe (1887–1986) American artist

both quotes in a letter to William M. Milliken, New York November 1, 1930; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 227
1930s

“It gives my brain a rest, painting flowers. I don't feel the same tension as when I have a model in front of me. When I paint flowers, I put on colours and try out values boldly, without worrying about wasting a canvas. I wouldn't dare to do it with a figure; I'd be afraid of spoiling the whole thing. And the experience I gain this way is then applied to my pictures.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 196 : quote on painting flowers, to art-buyer George Riviere, who was watching a flower still-life of Renoir.

“I never touched Cubism myself, you know, although I was attracted by it one time. When I was painting at Céret and at Cagnes [1919, and from 1923]. I yielded to its influence in spite of myself, and the results were not entirely banal. But then... Céret itself is anything but banal. There is so much foreshortening in the landscape that, for that very reason, a picture may seem to have been painted in some specific style”

Chaim Soutine (1893–1943) painter

quote in 1927
Source: Life with the painters of La Ruche, Vorobëv Marevna, Macmillan, New York, 1972, p. 156

“I have seen big painting here. When I had looked at all the paintings by all the masters I had known I could not help saying to myself all the time, it's very pretty but it's not all yet. It ought to be better, but now I have seen what I always thought ought to have been done and what did not seem to me impossible. O what satisfaction it gave me to see the good Spanish work so good so strong so reasonable so free from every affectation. It stands out like nature itself.”

Thomas Eakins (1844–1916) American painter

Letter from Madrid to Benjamin Eakins (1869-12-02).

“Frankly, this is my position: I have been painting for two years, and my only models have been your [ Monet's ] own works; I have been following the wonderful path you broke for us. I have always worked regularly and conscientiously, but without advice or help, for I do not know any impressionist painter who would be able to guide me, living as I am in an environment more or less hostile to what I am doing. And so I fear I may lose my way, and I beg you to let me see you, if only for a short visit. I should be happy to show you five or six studies; perhaps you would tell me what you think of them and give me the advice I need so badly, for the fact is that I have the most horrible doubts, having always worked by myself, without teacher, encouragement, or criticism.”

Paul Signac (1863–1935) French painter

In a letter to Claude Monet, 1880; quoted by Geffroy: Claude Monet, vol. I, p. 175; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 15
In 1880 an exhibition of the works of Claude Monet had - as Signac was to say later - 'decided his career,' - and after his first efforts as an impressionist Signac had ventured to appeal to Monet, writing him this sentence in his letter

“Now I must, I suppose, explain why I have been writing this account. […] I have written to disclose myself to myself, and I am writing now because I will, I know, sometime read what I am now writing and wonder. Perhaps by the time I do, I will have solved the mystery of myself, or perhaps I will no longer care to know the solution.”

Gene Wolfe (1931–2019) American science fiction and fantasy writer

Fiction, "The Fifth Head of Cerberus", Orbit 10 (1972)

“What relation has a 'doe' to our picture of the world? Does it make any logical, or even artistic, sense, to paint the doe as it appears to our perspective vision, or in a cubistic form because we feel the world cubistically? It feels it as a doe, and its landscape must also be 'doe'… I can paint a picture: the roe; Pisanello has painted such. I can, however, also wish to paint a picture: 'the roe feels'. How infinitely sharper an intellect must the painter have, in order to paint this! The Egyptians have done it. The rose; Manet has painted that. Who has painted the flowering rose? The Indians..”

Franz Marc (1880–1916) German painter

Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445

“[the 'Surfboards' - series works Noland made mid-70's] were almost like cut-out figures without being figurative… I think of them, in some way, as being like figures; they remind me of figures in vertical Cubist paintings. Even the small pictures have that kind of human proportion in the rectangles. It's not exactly a reference, but the relation of length to width in the rectangles is like a person.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, pp. 23-24
Conversation with Karen Wilkin' (1986-1988)

“For a thousand years I have been asking myself, "what will I do now?" And still I need not answer.”

Antonio Porchia (1885–1968) Italian Argentinian poet

Desde hace mil años me pregunto: ¿qué haré ahora? Y aún no necesito responderme.
Voces (1943)

“In the coming year I must do a large painting which will definitely get me recognized for what I truly am, for I want all or nothing. All those little paintings are not the only thing that I can do... I want to do large-scale painting. One thing is certain, that within five years, I must have a name in Paris; that is what I strive for. It's hard to get there, I know... To move faster I only lack one thing, and that's money, in order to boldly execute what I have in mind.”

Gustave Courbet (1819–1877) French painter

Quote from his letter (10 March 1845); as cited in 'Gustave Courbet', by Georges Riat, Parkstone International, 2015
very soon after this letter Courbet attacked a canvas of eight feet high and ten feet wide
1840s - 1850s

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Vincent Van Gogh 238

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