“Goya, Miró, Matisse, Bosch and Klee.”

— Alexander Calder

Question, What artists do you most admire?
1950s - 1960s, interview with Alexander Calder', (1962)

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Alexander Calder41

American artist 1898–1976

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“The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, "let's get on to the Botticellis as soon as possible."”

Clive Barker (1952) author, film director and visual artist

I have lingered, of course.
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“Light is something very special. It has nothing to do with white. Either you see it or you don't. [George] de la Tour doesn't have light; Monet hasn't any light. Matisse, Goya, Chardin, Van Gogh, Sam Francis, Kline have it. But it has nothing to do with being the best painter at all.”

Joan Mitchell (1925–1992) American painter

Quote of Mitchel in Marcia Tucker's Whitney catalogue (1974); as cited in Jane Livingstone‘ in The Paintings of Joan Mitchel, ed. Jane Livingstone, Joan Mitchell, Linda Nochlin, p. 35
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“Ronnie Bosch sat in his studio, stared long and hard at his drawing board, and groaned.”

Tom Holt (1961) British writer

Faust Among Equals (1994)

“title of Goya's undated 80 etchings, 1808 - 1814; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 272”

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

'Fatales consequensias de la sangrienta guerra en Espanã con Buonaparte. Y otros caprichos enfáticos'
the official title of Goya's series of 80 undated etchings he started to make in 1808 on the Peninsular War between France and Spain (1808-1814); most war activities and cruelties took place in Spain. None of these etchings were printed in Goya's lifetime.
1800s

“Quote of Miró on a visit of Calder who brought with him the small mechanical circus made from wire: a letter by Miro, 17 March 1964 / Correspondence 61; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 33”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

1961 and later

“Goya in gratitude to his friend Arrieta for the skill and great care with which he saved his [Goya's] life in his acute and dangerous illness, suffered at the end of 1819, at the age of seventy-tree years. He painted this in 1820.”

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

inscription by Goya, 1820
Goya painted this long inscription in 1820, - in the tradition of the ex-votos in the churches - in the double-portrait, [of his friend, and of Goya himself as the patient], he made of his doctor Eugenio Garciá Arrieta who helped him in 1819 with a severe illness
1820s

“They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

“At the Bauhaus, Klee exuded a healthy, generative atmosphere – as a great artist and as a lucid, pure human being.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Kandinsky, from Bauhaus - Zeitschrift für Gestaltung, no. 3, 1931; as cited in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html <br class="br">1930 - 1944

“Matisse's art speaks for itself through its "mechanics", it's "form" and through the feeling which that "form" makes manifest. It's not by far the first to do so and to transcend the illustrated subject by doing so. (All good painting and sculpture does that to some extent). But just as Matisse rejected verbal rhetoric so he kept every last trace of illustrational rhetoric out of his art. He may have been the first painter in our tradition to do that in a really radical way. This doesn't make his art better than a Giotto's or Caravaggio's or Goya's or David's, not necessarily. But it does make it a salutary example for all those people who find it hard, in any medium, to mean what they say.”

Clement Greenberg (1909–1994) American writer and artist

On Matisse http://www.sharecom.ca/greenberg/matisse.html at sharecom.ca, 1973: On Henri Matisse <br class="br">1970s

“When I first saw the work of Matisse I knew that was for me.”

Robert Motherwell (1915–1991) American artist

Conversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983
after 1970