Quotes about artist
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“Every Artist is a Cannibal, every Poet is a Thief. All kill for inspiration and sing about their grief”

Bono (1960) Irish rock musician, singer of U2

"The Fly"
Lyrics, Achtung Baby (1991)

“There’s obviously always danger in making music or art for art’s sake. Even as Christians we can be guilty of that, being more about the art than the Artist who gave us this gift.”

Steven Curtis Chapman (1962) American Christian music singer-songwriter, record producer, actor, author, and social activist

Press conference after 2007 GMA Music Awards http://video.google.com/videoplay?docid=-5378840845486744543&q=steven+curtis+chapman

Art, Music

“Certain artists and critics attacked me for painting the 'Women' [series of paintings, De kooning started in 1950], but I felt that this was their problem, not mine. I don’t really feel like a non-objective painter at all... It's really absurd to make an image, like a human image. With paint, today, when you think about it, since we have this problem of doing it or not doing it. But then all of a sudden it was even more absurd not to do it. So I fear I have to follow my desires.”

Willem de Kooning (1904–1997) Dutch painter

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 45.
1960's

Women, Fear, Feeling, Problem

“Reticence may be an elderly doctrine to preach, yet from the artistic point of view I am sure it is a sound one. Reticence conduces to effect, blatancy ruins it.”

M. R. James (1862–1936) British writer

"Some Remarks on Ghost Stories", in The Bookman, December 1929; cited from Michael Cox M. R. James: An Informal Portrait (Oxford: Oxford University Press, 1986) p. 150.

“.. no true artist ends with the style that he expected to have when he began,... it is only by giving oneself up completely to the painting medium that one finds oneself and one's own style.”

Robert Motherwell (1915–1991) American artist

The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46
1950s

Painting

“There is no unity or organisation or even aesthetic unity [in Abstract Expressionism / w:New York School (art), but we do have a very strong bond in our defense, but we also are strongest in our own individual identity. Our effort, I think, is all shooting off in independent directions. And the artists themselves will not admit to the existence of the New York School. They won't admit to any classification, and most of those painters known as Abstract Expressionists are the first to say they are not.”

David Smith (1906–1965) American visual artist (1906-1965)

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 12
1960s

School, Art, Thinking, Effort

“I think of myself as an American artist: I like it here... I feel I represent the U. S. in my art but I'm not a social critic. I just paint those things in my paintings because those things are the things I know best. I'm not trying to criticize the U. S. in any way, not trying to show up any ugliness at all. I'm just a pure artist, I guess. But I can't say if I take myself seriously as an artist. I just hadn't thought about it. I don't know how they consider me in print, though.”

Andy Warhol (1928–1987) American artist

Quote of Warhol in Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467
1963 - 1967

Art, Way, Feeling, Thinking

“They're photographs by Adam Fuss. He's an artist. They are beautiful, artistic photos - more silhouettes than anything else. It's not like, "Hey, Mom and Dad are naked, come check it out!" But if I go to the bathroom and my kid walks in, I'm not going to be like, "Oh my God! Close the door!"”

Heidi Klum (1973) German model, television host, businesswoman, fashion designer, television producer, and actress

They see their parents naked all the time. We are not ashamed.
Admitting that there are nude photographs of herself and Seal hanging in their bedroom and bathroom. Quoted by Jennifer Weiner in InStyle, February 2010.

God, Beauty, Photo, Moms

“Merz stands for the freedom of all fetters... Merz also means tolerance towards any artistically motivated limitation. Every artist must be allowed to mould a picture out of nothing but blotting paper, for example, provided he is capable of moulding a picture.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Merz. Für den Ararat geschrieben' (1920); as quoted in Kurt Schwitters, das literarische Werk, ed. Friedhelm Lach, Dumont Cologne, 1973–1981, Vol. 5 p. 77.

Motivation, Freedom

“The listener with no preconceptions hears massive waves of sound breaking over him and forms from them the image of a passionate soul seeking and finding the path to faith and peace in God through a life of struggle and a vigorous pursuit of ideals. It is impossible not to hear the confessional tone of this musical language; Liszt’s sonata becomes - perhaps involuntarily on the part of the composer - an autobiographical document and one which reveals an artist in the Faustian mold in the person of its author. As in the Harmonies poétiques et religieuses, the underlying religious concept which dominates and permeates the whole work demands a special kind of approach. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. The equilibrium of the sonata’s hymnic chordal motif, the transformation of its defiant battle motif (first theme) into a triumphant fanfare, and its appearance in bright, high notes on the harp, together with the devotional atmosphere of the Andante, represent a particular challenge to the listener; he is, after all, also expected to grasp the wide-spanned arcs of sound which, from the first hesitant descending octaves to the radiant final chords, build up a graphic panorama of the various stages of progress of a human spirit filled with faith and hope. As the reflection of a remarkable artistic personality worthy of deep admiration and, by extension, of the whole Romantic period, Liszt’s B minor Sonata deserves lasting recognition.”

Burkard Schliessmann classical pianist

About the Liszt Sonata in B minor

Life, God, Peace, Faith

“1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.
Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.”

Lawrence Weiner (1942) American artist

Lawrence Weiner. "Declaration of Intent" (1968); cited in: Lucy R. Lippard (1973). Six Years: The Dematerialization of the Art Object from 1966 to 1972. p. xvii

Decision

“…What people miss about (Marilyn) Manson is that he is just reflecting, he's an artist, people want to focus that energy on him, but it's not really him, it's really about you. So for every guy sitting there with a beer and a.45 in his belt, Manson is just speaking to that end of society. He's speaking as an artist. He's not speaking as himself, and that's where people get really lost with Manson.”

Billy Corgan (1967) American musician, songwriter, producer, and author

Corgan, William. Interview. 1998 Pre-Grammy Show. MTV. 25 February 1998.

People, Guy, Beer

“I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.... Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 82
1960s, Interview with David Sylvester', (1960)

School, Literature, Thinking, Time

“The only difference between an artist and a lunatic is, perhaps, that the artist has the restraint or courtesy…to conceal the intensity of his obsession from all except those similarly afflicted.”

Osbert Sitwell (1892–1969) British baronet

Noble Essences, Bk. IX, ch. 7 (1950).

Affliction

“I do not want other artists to imitate my work – they do even when I tell them not to – but only [ imitate] my example for freedom and independence from all external, decadent and corrupting influences..”

Clyfford Still (1904–1980) American artist

1960s
Source: 'A period of Exploration', McChesney, as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p 35

Freedom

““You didn’t do any of these things because they were necessarily good unto themselves, but because you saw them as means to shape events to serve your own ends. The entire legacy of the Matriarch is the exploitation of others like pieces in some great game.”
She laughed in his face. “You can see it that way if you like. The weak usually do, if they see it at all. But you disappoint me. Despite your study of history, you fail to understand power. It’s obvious you never will… There’s really only one choice you ever have to make in any act of creation. Will you be the instrument or the artist? If you’re only now coming to realize that you’ve been a tool all your life, there’s no one to blame for it but yourself. If you don’t like that state of affairs, then act! Impose your will upon the world and walk your own path. If you don’t, you’ll just end up being a token in someone else’s game; you’ll continue to be used as they see fit. That’s how the universe works. You don’t have to like it, but you’d do well to get used to it.”…
“No, maybe that’s the way the world looks once you’ve already decided to take your path. Or maybe it’s just you’re so jaded, or you’ve bought into your own delusions. I don’t know which, and I don’t care. Those aren’t the only choices: use of be used. There is more than being tyrant or servant. I reject both options and I reject you. You’ve been dead for centuries, Margda, it’s about time you accepted that.””

Lawrence M. Schoen (1959) American writer and klingonist

Source: Barsk: The Elephants' Graveyard (2015), Chapter 38, “Loose Ends” (pp. 362-363; ellipses represent elisions of descriptive sections)

Life, World, Disappointment, Way

“I wish to guard the Principle of Vision from certain misconceptions which might arise on a simple statement of it. The principle insists on the artist assuring himself that he distinctly sees what he attempts to represent. What he sees, and how he represents it, depend on other principles. To make even this principle of Vision thoroughly intelligible in its application to all forms of Literature and Art, it must be considered in connection with the two other principles — Sincerity and Beauty, which are involved in all successful works.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)

Beauty, Art, Intelligence, Literature

“one day [c. 1905-07], Kirchner brought with him a volume from some bookstore with pictures of Meier-Graefe about the modern French artists. We were enthralled.”

Fritz Bleyl (1880–1966) German artist

Fritz Bleyl, as quoted in: Brücke' Zeichnungen, Aquarelle, Druckgraphik, Magdalena M. Moeller; Verlag Gerd Hatje, Stuttgart 1992, p. 14; as quoted by Louise Albiez https://www.researchgate.net/publication/272168564Claire (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May, 2013 p. 8

“Human life itself may be almost pure chaos, but the work of the artist — the only thing he's good for — is to take these handfuls of confusion and disparate things, things that seem to be irreconcilable, and put them together in a frame to give them some kind of shape and meaning. Even if it's only his view of a meaning. That's what he's for — to give his view of life.”

Katherine Anne Porter (1890–1980) American journalist, essayist, short story writer, novelist, and political activist

Writers at Work interview (1963)

Life

“The internationalization of art becomes a factor contributing to the estrangement of art from the artist. The sum of works of all times and places stands against him as an entity with objectives and values of its own. In turn, since becoming aware of the organized body of artworks as the obstacle to his own aesthetic self-affirmation, the artist is pushed toward anti-intellectualism and willful dismissal of the art of the past.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 137, "Criticism and Its Premises"

Art, Time, Past

“As art sinks into paralysis, artists multiply. This anomaly ceases to be one if we realize that art, on its way to exhaustion, has become both impossible and easy.”

Emil M. Cioran book The Trouble With Being Born

The Trouble With Being Born (1973)

Art, Way

“Chesterton was important — as important to me in his way as C. S. Lewis had been.
You see, while I loved Tolkien and while I wished to have written his book, I had no desire at all to write like him. Tolkien’s words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm. Chesterton was the complete opposite. I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.”

Neil Gaiman (1960) English fantasy writer

"Mythcon 35 Guest of Honor Speech", in Mythprint (October 2004) http://www.mythsoc.org.nyud.net:8090/mythcon/35/speech/

Love, Books, Way, Nature

“In this society which we are induced to frequent, composed above all of politicians and artists, one cannot realize one's true worth.”

Louis-ferdinand Céline (1894–1961) French writer

99
Mea culpa; suivi de la vie et l'oeuvre de Semmelweis (1937)

“The dichotomies which are the signature of their work – the esoteric and the exoteric, the civil and the managerial, the friend and the foe, the lawful and the legislative – are so many cordons. Their function is to hold popular sovereignty at bay. The different gifts displayed in this enterprise, whatever view is taken of it, were remarkable. For all his later tendency to textual dressage, Strauss's range and subtlety as a master of the canon of political philosophy had no equal in his generation. Schmitt's moral instability never impaired an extraordinary capacity to fuse conceptual insight and metaphoric imagination in lightning flashes of illumination around the state. Hayek could seem tactically ingenuous, but he fashioned a theoretical synthesis out of his epistemology and economics whose scope and strength has yet to be supplanted. Oakeshott was the literary artist in this gallery. His writing varies considerably in quality, and can be whimsically arch at one moment and curiously crude at another, disconcertingly close to Punch or Cross-Bencher. But at its best, when it moves into high register, it can rise to a lyrical beauty.”

Perry Anderson (1938) British historian

Source: Spectrum: From Right to Left in the World of Ideas (2005), Ch. 1. "The Intransigent Right, Michael Oakeshott, Leo Strauss, Carl Schmitt, Friedrich von Hayek" (1992), p. 27

Law, Beauty, Imagination, Fashion

“Encourage your kids' artistic side. Toughen up everything else.”

Michael Madsen (1957) American actor

Attributed

“I would have failed, of course, but failure is the condition of the artist's life. What kind of failure would I have enjoyed, suffered? I know it was not all waste. My hopeless daubings taught me to look at the world with a painter's eye, despite the poor connection between eye and hand. And the smells of turpentine and linseed oil and paint-soaked rags still make my blood tingle. But words were my calling, and called to me, and I let fall the brush.”

John Banville (1945) Irish writer

My other life: John Banville http://www.guardian.co.uk/books/2008/nov/30/my-other-life-john-banville?INTCMP=SRCH, The Observer (30 November 2008).

Life, World, Failure, Suffering

“If we are only as the potter's clay
Made to be fashioned as the artist wills,
And broken into shards if we offend
The eye of Him who made us, it is well.”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

Rights; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Fashion

“To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.”

Willa Cather (1873–1947) American writer and novelist

"Miss Jewett"; originally published as the Preface to The Best Stories of Sarah Orne Jewett (1925)
Not Under Forty (1936)

“Jobs: Part of what made the Macintosh great was that the people working on it were musicians, poets, and artists, and zoologists, and historians. They also happened to be the best computer scientists in the world. But if it hadn’t been computer science, these people would have been doing amazing things in other fields. We all brought to this a sort of “liberal arts” air, an attitude that we wanted to pull the best that we saw into this field. You don’t get that if you are very narrow.
Cringley: How does the Web affect the economy?
Jobs: We live in an information economy. The problem is that information's usually impossible to get, at least in the right place, at the right time. The reason Federal Express won over its competitors was its package-tracking system. For the company to bring that package-tracking system onto the Web is phenomenal. I use it all the time to track my packages. It's incredibly great. Incredibly reassuring. And getting that information out of most companies is usually impossible.
But it's also incredibly difficult to give information. Take auto dealerships. So much money is spent on inventory—billions and billions of dollars. Inventory is not a good thing. Inventory ties up a ton of cash, it's open to vandalism, it becomes obsolete. It takes a tremendous amount of time to manage. And, usually, the car you want, in the color you want, isn't there anyway, so they've got to horse-trade around. Wouldn't it be nice to get rid of all that inventory? Just have one white car to drive and maybe a laserdisc so you can look at the other colors. Then you order your car and you get it in a week.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

Robert X. Cringley for a Public Broadcasting System [PBS] television series, “Triumph of the Nerds” (1995), “The Lost Interview: Steve Jobs Tells Us What Really Matters” https://www.forbes.com/sites/stevedenning/2011/11/17/the-lost-interview-steve-jobs-tells-us-what-really-matters/#5cb0fc8e6c3a, Forbes, Steve Denning, Nov 17, 2011, 1990s

Money, People, World, Art

“To protect the right of expression is the central part of an artist’s activity..... In China many essential rights are lacking, and I wanted to remind people of this.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Who Is Ai Weiwei?, 2009

People, Parting

“The metaphysical forms which compose our futurist pictures are the result of realities conceived and realities created entirely by the artist. These last are inspired by the emotion or intuition and dependent on atmosphere-ambience.”

Gino Severini (1883–1966) Italian painter

Quote of Severine 1913, from the opening paragraphs of his text 'Art du fantastique dans le sacre', as cited in Gino Severini Ecrits sur l'art, (1913-1962), with a preface by Serge Fauchereau, (Paris: Editions Cercle d'Art, 1987), p. 47
Severini opens 'Art du fantastique' with a theoretical explanation of the concept, form and content of a Futurist work

Reality, Dependency

“Since 1914…I wait for the natural to return; for newspapers to report news with care for accuracy and grammar; for schools to teach and for pupils to study; for faces to be sane and intelligent, and even humorous; for American artists and poets and writers to be exuberant and optimistic…it is all gone with the music of Vienna and the gaiety of San Francisco. But I still see everything against that background, and really I see nothing funny anywhere. The Beatnik beard and the mini skirt and the topless waitress, they ARE funny, I know they are funny but they only make me tired, I don't laugh.”

Rose Wilder Lane (1886–1968) American journalist

letter to Roger MacBride (March 5, 1968).
reflecting her impressions of the world of 1968, at the age of 81.

School, Music, Intelligence, Nature

“The weather today is frightful, rain and wind. You must be having the same at Epping; it's a pity. It had been so fine for the last few days and I had begun to grind away from nature. This is infuriating, for it's the loveliest time of the year, September and October. I can't stand the summer any more, with its heavy, monotonous green, its dry distances where everything can be seen, the torment of the great heat... Artistic sensations revive in September and October, but then it rains and blows!”

Camille Pissarro (1830–1903) French painter

In a letter to his son Lucien, 15 September 1893, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 148
1890's

Nature, Time, Summer, Weather

“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.”

James McNeill Whistler (1834–1903) American-born, British-based artist

In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

Flowers, Tree, Painting, Indifference

“For the longest time, I didn't know the name of anyone in Led Zeppelin. I didn't care about what they looked like or ate. I wanted to listen, not read about them. I've always had that philosophy. I never started playing drums to get chicks or money or anything else. Long before I had concepts of those things, I wanted to be a drummer. That's the basic concept of what I do. I'm a drummer. I play drums. We are artists as drummers, and people should realize that. Not everyone can sit down and use all four of your limbs simultaneously to create something out of wood and plastic. We're creating something beautiful, and it may not sound pretty, but if you listen with the right ear, it sounds very pretty. If you try and listen to a song without drums, you haven't got anything.”

John Dolmayan (1973) Lebanese-born Armenian–American songwriter and drummer

[Artist Features: Steal This Article: John Dolmayan, Weiss, David, May 2003, http://drummagazine.com/html/modules.php?op=modload&name=News&file=article&sid=241, 2007-01-08]

Money, People, Beauty, Time

“This morning I received a letter from de Bellio. He writes that he does not believe scientific research into the nature of color and light can help the artist, neither can anatomy nor the laws of optics. He wants to discuss these questions with me and find out my views. Now everything depends on how this knowledge is to be used. But surely it is clear that we could not pursue our studies of light with much assurance if we did not have as a guide the discoveries of Chevreul and other scientists. I would not have distinguished between local color and light if science had not given us the hint; the same holds true for complementary colors, contrasting colors, etc. 'Yes', he will tell me: 'but these have always been taken into account, look at Monet' It is at this point that the question becomes serious!”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, in a letter, Eragny, 23 February 1887, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 99
1880's

Law, Color, Question, Nature

“The artist reconstructs the world to his plan.”

Albert Camus book The Rebel

Part 4: Rebellion and Art
The Rebel (1951)

World

“The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

On J. D. Salinger, from a review of his Franny and Zooey, in Studies in J. D. Salinger : Reviews, Essays, and Critiques of The Catcher in the Rye and other Fiction (1963) edited by Marvin Laser and Norman Fruman, p. 231; also quoted in The Christian Science Monitor (August 26, 1965) and Updike's Assorted Prose (1965).

“One of my biggest heroes in music has been David Bowie. He's said, `I'm going to be a painter now, or I'm going to do some films,' and his audience is very forgiving, because they understand him as an artist. Whether you agree or like the result, you respect that he's expressing his artistic feelings.”

Maynard James Keenan (1964) musician

The Record staff (March 22, 2000) "Music News & Notes", The Record, p. Y4.

Music, Feeling, Forgiveness, Understanding

“.. and to think now that great mathematicians find my work interesting because I am able to illustrate their theories. They can not imagine that I was such a bad pupil in mathematics. I don't understand it myself neither. I never could understand why it was necessary to prove something that everyone already sees. I saw it, I knew it, so it is how it is… But yes, you had to prove it. I did overcome it when I realized I can make something else - I thought I was a good-for-nothing. In my family there were no other artists to find... I was just a weird duck, right?”

M. C. Escher (1898–1972) Dutch graphic artist

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): En als je nu bedenkt dat grote wiskundigen mijn werk interessant vinden, omdat ik in staat ben hun theorieën te illustreren. Ze kunnen zich helemaal niet voorstellen dat ik zo slecht was in wiskunde. Ik snap er zelf ook niets van. Ik begreep niet dat je iets moest bewijzen wat iedereen ziet. Ik zag het, ik wist, het is toch zo.. .Maar jawel hoor, je moest het bewijzen. Ik ben er bovenuit gekomen toen ik me realiseerde, dat ik wat anders kon. Ik dacht, dat ik een nietsnut was. Ik kom uit een milieu waar geen artiesten in waren.. ..Ik was een rare eend in de bijt, he?
1960's, M.C. Escher, interviewed by Bibeb', 1968

Family, Imagination, Mathematics, Understanding

“At the present time the artists stands alone.... no ideology can be of help to him.”

Fritz Wotruba (1907–1975) Austrian sculptor (23 April 1907, Vienna – 28 August 1975, Vienna)

Source: The Human Form: Sculpture, Prints, and Drawings, 1977, p. 7.

Time, Help

“I found in your book the confirmation of my ultimate conclusions and the tools for deepening this aspect of the artistic problem.”

Gino Severini (1883–1966) Italian painter

Original in Italian: ho trovato nel vostro libro la conferma delle mie ultime conclusioni e gli strumenti per approfondire questo as petto della questione artistica. In a letter to Jacques Maritain, 18 September, 1923; as quoted in: Justine Grace, 'The Spirit of Collaboration: Gino Severini, Jacques Maritain, Anton Luigi Gajoni and the Roman Mosaicists' http://artsonline.monash.edu.au/colloquy/download/colloquy_issue_twenty-two/grace.pdf, COLLOQUY text theory critique Vol 22 (2011).

Books, Problem

“My work has always been political, because the choice of being an artist is political in China.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Escape from Propaganda, 2009

“.. my favorite artist, when I first began to paint, was actually Cézanne. Later, between 1920 – 1930, I developed a great interest in Chardin [famous for his still-life], w:Vermeer and Corot, too.... that's why you have been able to detect in my works of between 1912 – 1916 some recognizable influences of the early Paris cubists and above all, of Cézanne.”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 106

Life, Painting

“I, who believe that every artist should be his own teacher, cannot dream of setting myself up as a professor.”

Gustave Courbet (1819–1877) French painter

1860s, Realist Manifesto' - an open letter, 1861

Dreams, Teachers

“We are getting carried away by the on-the-move musicians. Most of the Carnatic concerts abroad are being organised by NRIs. The defining moment is when an artist is invited to a foreign land and applauded by the foreign nationals. They should forge artistic alliances and find new audiences by introducing people of other nationalities to our arts.”

M. Balamuralikrishna (1930–2016) Carnatic vocalist, instrumentalist and playback singer

Source: Chitra Swaminathan "He defines ‘style’ as tradition".

People, Art

“Like most artists and musicians, I considered myself detached from the political life…but I had an insight that maybe we would have a political contribution to make in the future.”

Gilberto Gil (1942) Brazilian singer, guitarist, songwriter and politician

[Oliver, Burkeman, http://arts.guardian.co.uk/features/story/0,,1592188,00.html, Minister of counterculture, The Guardian, Guardian Media Group, 2005-10-14]

Life, Future

“I tell you, struggle is what is missing in the lives of most young people today. If they think I'm going to support them while they create great works of art, then they've missed the point of my work, of my life! In the process of becoming a writer or an artist one has to be willing to starve. Struggle is the most invaluable experience of all. Suffering seems to be the inevitable fate of the creative sensitive types. Poverty, disease, death, unrequited love affairs, and disappointments of every sort fan the flame of the artistic spirit. The greatest works of art were not created by spoiled brats. They were born for the most part out of a sense of despair, and if not despair then just plain hard work. Somewhere along the line the artist learns the art of transformation.”

Henry Miller (1891–1980) American novelist

Reflections (1981)

Love, Life, Death, Fate

“One is also reminded of how in art the tortoise so often overtakes the hare. Not all, but too many of the best writers, composers, and artists of our time begin to be acclaimed only when they no longer have anything to say and take to performing instead of stating. This is how they first become accessible to broad taste, which is lazy taste, and by the same token to the processes of publicity and consecration. As long as they were trammeled up in the urgency of getting things said they were too difficult, too "controversial."”

Clement Greenberg (1909–1994) American writer and artist

On Hans Hofmann, in "Hofmann", in Georges (Fall 1961)
1960s

Art, Time

“to Joshua Kirby, Esq. - to be left at the Turk's Head, Gerrard Street, St. Ann's, London - Mr. President and Gentlemen, Directors of the Society of Artists of Great Britain. I thank ye for the honor done me in appointing me one of your Directors, but for a particular reason I beg leave to resign, and am. Gentlemen, your most obliged and obedient Humble Servant.”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote from Gainsborough's letter, Bath, 5 Dec. 1768; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 397 (Appendix B) 18 October 1768, Gainsborough was elected to a Directorship of the Society of Artists, and on the same day his old Ipswich friend, Joshua Kirby, was made President. Gainsborough, however, declined to accept office, and his letter of refusal must have grieved Kirby 1755 - 1769

“In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle towards the realization is a series of efforts, pains, satisfactions, refusals, decisions, which also cannot be fully self-conscious, at least on the aesthetic plane. The result of his struggle is a difference between the intention and its realization, a difference which the artist is not aware of.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

Pain, Decision, Effort

“The artist who becomes thoroughly aware consequently ceases to be one.”

Henry Miller (1891–1980) American novelist

Henry Miller on Writing (1964)

“A work of art is only of interest, in my opinion, when it is an immediate and direct projection of what is happening in the depth of a person's being.... It is my belief that only in this Art Brut can we find the natural and normal processes of artistic creation in their pure and elementary state.”

Jean Dubuffet book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, pp. 203-204

Art, Nature, Personality

“I’d like to think I have somehow connected or tapped to our collective subconscious, but in a sense I am just pulling ideas off the morning news. The real challenge is to make art out of these bits and pieces of our reality. I am a third-generation artist raised in the ghetto who was classically educated. This had its assets and liabilities.”

Joe Lewis (artist) (1953) American photographer

Walter Robinson. " Joe Lewis: Clairvoynace http://www.artnet.com/magazineus/features/robinson/robinson8-16-07.asp" at artnet.com, 2015.

Education, Art, Idea, Thinking

“To divide people into sadists and masochists is almost as foolish as dividing them into eaters and digesters. In all cases one must disregard abnormalities; after all, there are people who are better at digesting than they are at eating and vice versa. As regards masochism and sadism, it is safe to say that a healthy person displays both perversities. The only ugly thing in each case is the word. The one derived from the novelist Leopold von Sacher-Masoch is particularly degrading, and it is hard not to let one's taste for things be spoiled by the designation. Nevertheless, a man with an artistic imagination will manage to let an authentic woman turn him into a masochist and an inauthentic one into a sadist. One knocks the latter's educated unnaturalness out of her until the woman is revealed. If she already is a woman, the only thing left to do is adore her.”

Karl Kraus (1874–1936) Czech playwright and publicist

Half-Truths and One-And-A-Half Truths (1976)

People, Education, Imagination, Personality

“As with other modern artists, his readings provided not an organized outlook but a kind of metaphysical hum that surrounded his mental operations. His thinking was truly systematic only when it dealt with achieving the reality of the art object as a "creation out of nothing," which was a common theme in New York art after the last war and the break with the European past.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 58, "Newman: Meaning in Abstract Art II" : On Barnett Newman

War, Art, Thinking, Reality

“The conscience of an artist worthy of the name is like an incurable disease which causes him endless torment but occasionally fills him with silent joy…”

Georges Rouault (1871–1958) French painter

Quotes, 1940-1950, Stella Vespertina. (1947)

Disease, Joy

“The point to be made clear is that, whatever may be our temperament, or our power in the presence of nature, we have to render what we actually see, forgetting everything that appeared before our own time. Which, I think, should enable the artist to express his personality to the full, be it large or small. Now that I am an old man, about seventy, the sensations of colour which produce light give rise to abstractions that prevent me from covering my canvas, and from trying to define the outlines of objects when their points of contact are tenuous and delicate; with the result that my image or picture is incomplete. For another thing, the planes become confused, superimposed; hence Neo-Impressionism (initiated by Seurat and Paul Signac, ed., where everything is outlined in black, an error which must be uncompromisingly rejected. And nature, if consulted, shows us how to achieve this aim.”

Paul Cézanne (1839–1906) French painter

Quote from Cézanne's letter to Émile Bernard, 23 October 1905; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 180
Quotes of Paul Cezanne, after 1900

Error, Nature, Thinking, Light

“And for the greatest movie artists where there is a unity of technique and subject, one doesn’t need to talk about technique much because it has been subsumed in the art. One doesn’t want to talk about how Tolstoi got his effects but about the work itself. One doesn’t want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn’t need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made — which is more or less implicit.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

Beauty, Art, Tear

“When Picasso does pure painting he is a great artist. When he paints as an cubist, putting one tone next to another, the arrangement of planes is fine and the result very strong. But those who imitate him achieve nothing worthwhile.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 407

Strong, Painting

“An artist has gotta be careful never really to arrive at a place where he thinks he's at somewhere. You always have to realize that you're constantly in a state of becoming.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

No Direction Home (2005)

Thinking

“The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenthcentury author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, John Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken (2013). " Broken Circle &/ Spiral Hill: Smithson’s Spirals, Pataphysics, Syzygy, and Survival http://artexetra.files.wordpress.com/2009/02/shanken-smithson-2013.pdf."

Law, Art, Literature, Universe

“A man with taste is the same as a woman with taste. Man invents his home, woman - her dress. Being an artist means having an individual, distinct from all other people's perception and concept of every single thing. Being an artist does not mean possessing a faculty of combining lines and paints, being artful in this or that sort of art, but having a world inside oneself and individual forms to express it.”

Marianne von Werefkin (1860–1938) expressionist painter

1895 - 1905
Source: Lettres à un Inconnu, (Notebook II, p. 8) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska. Klincksieck, 1999. p. 106

People, World, Art, Home

“Why do people think artists are special? It's just another job.”

Andy Warhol (1928–1987) American artist

1975 - 1987
Source: Philosophy of Andy Warhol, Andy Warhol, Harcourt Brace Jovanovich, New York, 1975, p. 178

People, Thinking

“All bores me in the world of facts, I see an end, a limit to all things and my heart thirsts for the infinite and for eternity. How to speak of the feeling, so serious, that has seized me?... Human activity has its greatest efforts always fall back on broken wings. Oh, thus I close my eyes. I do not wish to see, to hear, to love, or to act. Only artistic creation, infinite, unlimited, work of god in man, appears desirable to me. It only is the truth and only it is the illusion…”

Marianne von Werefkin (1860–1938) expressionist painter

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

Love, God, Truth, World

“I think I had been badly affected by.... the romance of Abstract Expressionism... particularly as it filtered out to places like Princeton and around the country, which was the idea of the 'artist as a terrifically sensitive ever-changing, ever ambitious person', particularly [described] in magazines like 'Art News' and 'Arts', which I read religiously.. I began to feel very strongly about finding a way that wasn't so wrapped up in the hullabaloo.... something that stable in a sense, something that wasn't constantly a record of your sensitivity, a record of flux.”

Frank Stella (1936) American artist

reacting on a question about 'gesture' panting
Quote in: Frank Stella, William S. Rubin, Museum of Modern Art, New York, 1970, p. 13
Quotes, 1960 - 1970

Art, Way, Feeling, Idea

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd (1928–1994) artist

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

School, Art, Light, Time

“As no man is born an artist, so no man is born an angler.”

Izaak Walton book The Compleat Angler

Epistle to the Reader.
The Compleat Angler (1653-1655)

“One can only be staggered by the hubris of modern artists if we compare them, say, to the humble builders of Chartres Cathedral whose names are not even known. The artist ought to be distinguished by selfless devotion to duty; but we forgot about that a long time ago.”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 189

Time

“The internet has stopped people from going out and being with each other, creating stuff. Instead they sit at home and make their own records, which is sometimes OK but it doesn’t bode well for long-term artistic vision. It’s just a means to an end. We’re talking about things that are going to change the world and change the way people listen to music and that’s not going to happen with people blogging on the internet. I mean, get out there, communicate. Hopefully the next movement in music will tear down the internet. Let’s get out in the streets and march and protest instead of sitting at home and blogging. I do think it would be an incredible experiment to shut down the whole internet for five years and see what sort of art is produced over that span. There’s too much technology available. I’m sure, as far as music goes, it would be much more interesting than it is today.”

Elton John (1947) English rock singer-songwriter, composer and pianist

Elton John, blaming the internet for destroying good music http://www.gigwise.com/news/35721/elton-john-wants-to-tear-down-the-internet (2 August 2007)

People, World, Art, Music

“[…that the] dwarfes don't have enough time to help me themselves but send squirrels and birds. [referring to artist-friends who had helped him to settle in London.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1930's

Bird, Time, Help

“I was working on this movie and the makeup artist was just so ugly! I just wanted to say "Physician, heal thyself!" She looked exactly like Aaron Neville, and she was trying her hardest to make me look exactly like Aaron Neville. This one time, she leaned into my face with the mascara wand almost touching my eye and she says, "Whass my name?"”

Margaret Cho (1968) American stand-up comedian

From Her Tours and CDs, Drunk With Power CD

Time

“When you look at a great painting it's like a conversation. It has questions for you. It raises questions in you... Being an artist is about discovering things after you've done them. Like Cézanne – after twenty years of that mountain [Mont St. Victoire] he found out what he was doing. If it isn't a process of discovery, it shows. I'm in it for the long haul.”

Kenneth Noland (1924–2010) American artist

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

Mountain, Question, Painting

“Art is internal and external. The repose a person feels in aesthetic creation comes from his, for the time, feeling he is what he is and also what he is not. Ego and otherness don't fight for the while. The artist feels he has reached form in the deepest places of his personality, because things outside himself have been see courageously, truly, respectfully by him.”

Eli Siegel (1902–1978) Latvian-American poet, philosopher

Everything Has to Do with Hardness and Softness (1969)

Art, Feeling, Courage, Time

“To anyone who is not an artist it must seem rather strange that Degas who could do anything — for whom setting down what he saw presented no difficulties at all — should have continued to draw the same poses year after year — often, it would seem, with increasing difficulty. Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs, it was one of the things that gave him so much sympathy with dancers. He was continually struggling to achieve an idea of perfect form, but this did not prevent him looking for the truth in what might seem an artificial situation.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 13: Degas

Truth, Idea, Drawing, Perfection

“There is no such thing as a Scientific Mind. Scientists are people of very dissimilar temperaments doing different things in very different ways. Among scientists are collectors, classifiers and compulsive tidiers-up; many are detectives by temperament and many are explorers; some are artists and others artisans. There are poet-scientists and philosopher-scientists and even a few mystics. What sort of mind or temperament can all these people be supposed to have in common? Obligative scientists must be very rare, and most people who are in fact scientists could easily have been something else instead.”

Peter Medawar (1915–1987) scientist

"Hypothesis and Imagination" (Times Literary Supplement, 25 Oct 1963)
1960s

People, Way

“[Rock 'n' roll] really is not given to thinking — and resents thinking. Which I believe is the big error of rock 'n' roll. It's always aspired to be the music of the working class. And it's never been looked upon as a vocabulary for art and artistic thinking… We have to be able to expand the vocabulary to express more complex thoughts.”

Paul Simon (1941) American musician, songwriter and producer

Interview in Musician (March 1984), p. 66-68

Art, Music, Error, Thinking

“We are accustomed to the artist scoundrel or specialist in vice, and unaccustomed to the creator in whom passion and reason and moral integrity hold in balance. But greatness of intellect and feeling, or soul and conduct — magnanimity, in short — does occur; it is not a myth for boy scouts, and its reality is important, if only to give us the true range of the term "human," which we so regularly define by its lower reaches.”

Jacques Barzun (1907–2012) Historian

Preface to the 3rd edition of Berlioz and the Romantic Century (1969)

Feeling, Soul, Boy, Reality

“A large vocabulary is like an artist having a big palette of colors. We don't have to use all the colors in a single painting, but it helps to be able to find just the right shade when we need it.”

Anu Garg (1967) Indian author

The Philomath Speaks An Interview with Anu Garg (Dec 15, 2009) http://www.nas.org/articles/The_Philomath_Speaks_An_Interview_with_Anu_Garg

Color, Help, Painting

“From the earliest days of my pupilage to art I had been instinctively drawn towards the paintings of Turner, Corot, Constable, Bonington, and Watts, with an intense admiration for their manner in viewing, and methods of re-creating, nature upon their canvases; and in later years I had been fascinated by the works of more modern artists, such as La Thangue, George Clausen, Edward Stott, and Robert Meyerheim.”

Wynford Dewhurst (1864–1941) British artist

Source: Impressionist Painting: its genesis and development. (1904), p. vii; Preface.

Art, Nature, Painting

“He was reminded of a Dutch book whose moral he often returned to: De Schoonheid van hoogspanningslijnen in het Hollandse landschap, written by a couple of academics in Rotterdam University, Anne Kieke Backer and Arij de Boode. The Beauty of Electricity Pylons in the Dutch Landscape was a defence of the contribution of transmission engineering to the visual appeal of Holland, referencing the often ignored grandeur of the towers on their march from power stations to cities. Its particular interest for Ian, however, lay in its thesis about the history of the Dutch relationship to windmills, for it emphasised that these early industrial objects had originally been felt to have all the pylons’ threateningly alien qualities, rather than the air of enchantment and playfulness now routinely associated with them. They had been denounced from pulpits and occasionally burnt to the ground by suspicious villagers. The re-evaluation of the windmills had in large part been the work of the great painters of the Dutch Golden Age, who, moved by their country’s dependence on the rotating utilitarian objects, gave them pride of place in their canvases, taking care to throw their finest aspect into relief, like their resilience during storms and the glint of their sails in the late afternoon sun. … It would perhaps be left to artists of our own day to teach us to discern the virtues of the furniture of contemporary technology.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), p. 212.

Books, Age, Beauty, History

“Enjoyment of the work consists in participation in the creative state of the artist.”

Martin Heidegger (1889–1976) German philosopher

Source: Nietzsche (1961), p. 117

“In these phonetic poems we the Dadaist artists totally renounce the language that journalism has abused and corrupted. We must return to the innermost alchemy of the word, we must even give up the word too, to keep for poetry its last and holiest refuge.”

Hugo Ball (1886–1927) German author, poet and one of the leading Dada artists

as cited by Steve McCaffery, in The Darkness of the Present: Poetics, Anachronism, and the Anomaly; publ. Tuscaloosa: University of Alabama Press, 2012, p. 16
1916

“I'm always endlessly surprised about the people who come into my life, who I get to collaborate with. I feel really overwhelmed by those opportunities. But it's not like I fell off the turnip truck and suddenly became who I am. I really have worked hard for it, and I have to acknowledge that. I care about what I do, and I have a sense of pride in my work. And you can never be totally settled as an actor or artist or musician. You have to keep the fire under you, because that's what makes you better.”

Reese Witherspoon (1976) American film actress and producer

Face to Face with Reese Witherspoon http://www.rd.com/content/openContent.do?contentId=18040&pageIndex=3, Readers Digest (September 2005).

Life, People, Feeling, Sense

“The shelf-life of a heroine is very limited. But I feel that a true artiste should never retire. Even now, I can't say no to a role that excites me. But I don't see films as my career any longer. I do it for the fun and satisfaction.”

Waheeda Rehman (1938) Indian actress

Quoted in Guru Dutt was my mentor: Waheeda, 23 June 2009, 15 December 2013, The Hindu http://articles.timesofindia.indiatimes.com/2009-06-23/news-interviews/28202984_1_guru-dutt-rojulu-maraayi-waheeda-rehman, Quote

Life, Feeling

“[the way of life of Die Brücke artists] though strange to the ordinary man, was not meant to shock, it was a pure and simple compulsion to integrate art and life..”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Quote in Expressionism, a German Intuition, 1905-1920: [Exhibition 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 7
undated

Life, Art, Way

“Well, first—that term, 'women artists.' I was talking to Joan Mitchell at a party about 10 years ago when a man came up to us and said, 'What do you women artists think…' Joan grabbed my arm and said, 'Elaine, let's get the hell out of here.' That was my first response to Linda Nochlin's article ['Why Have There Been No Great Women Artists?']. I was curious about how a man would react. Alex Katz thought it would be a cop-out to answer the piece. Sherman thought it would be a cop-out not to answer it. John Cage thought the question 'divisive and an over-simplification.”

Elaine de Kooning (1918–1989) American painter

I agree with all of them.
n.p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

Women, Hell, Question, Thinking

“I think musicians here [India] get ripped off. Music production houses take good care of artists abroad and though the upfront signing amount is much less than what I get here, the royalty takes care of future returns.”

A. R. Rahman (1966) Indian singer and composer

In A R Rahman: Composing a winning score, 21 September 2002, 16 December 2013, Rediff.com http://www.rediff.com/money/2002/sep/21bizsp.htm,

Music, Thinking, Future, Housing

“Formerly I felt repulsion for these creatures, and it was a harrowing thought for me to reflect that so many of our profession, Troyon, Marchal, Meryon, Jundt, M. Maris, Monticelli [all painter-artists], and heaps more had ended like this.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo, from Saint-Rémy-de-Provence, France, 25 May 1889; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 592), p 25 1880s, 1889

“It is hard, terribly hard, to keep on working when one does not sell, and one literally has to pay for one's colors from what would not be too much for eating, drinking and lodgings, calculated ever so strictly. And then, besides, the models... All the same they are building State museums, and the like, for hundreds of thousands, but meanwhile, the artists can go to the dogs.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter, from Antwerp, Belgium, Dec. 1885; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 438) p. 35 1880s, 1885

Dogs, Color, Drink

“I grew up always wanting to be an artist, and it was in high school when I started to really like writing. I was a junior in high school thinking about what I wanted to do with my life and I thought it would be great if I could find a job in which I could both draw and paint … and write which was this new thing that I loved. And I thought children's picture books would be the perfect job for me. It was a great combination of those skills and that's when I decided that's what I wanted to do.”

Kevin Henkes (1960) American children's illustrator and writer

Some Kids' Books Are Worth The Wait: 'They Do Take Time,' Says Kevin Henkes https://www.npr.org/2015/09/22/442521229/some-kids-books-are-worth-the-wait-they-do-take-time-says-kevin-henkes (September 22, 2015)

Love, Life, Children, Books

“It is a nation of contradictions, sir. Consider this: Ireland is an island nation that has never developed a navy; a music-loving people who have produced only those harmless lilting ditties as their musical legacy; a bellicose people who have never known the sweet savor of victory in a single war; a Catholic country that has never produced a single doctor of the Church; a magnificently beautiful country, a country to inspire artists, but a country not yet immortalized in art; a philosophic people yet to produce a single philosopher of note; a sensual people who have never mastered the art of preparing food.”

Pat Conroy The Lords of Discipline

p 274. Said by character Colonel Edward T. Reynolds.
The Lords of Discipline (1980)

Love, War, People, Food

“The fall of France must have been a bitter pill to Calvé. She had a poor opinion of Germans, both as people and as artists. It is sad to imagine what her last days may have been in her "robber-baron's castle" as Peggy Wood calls it. But one thing is certain; when death came, Calvé met it with spirit. No one who knew so well how to greet life could possibly fail to know how to greet death.”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Emma Calvé (1942).

Life, Death, People, Sadness

“All the cultures in human history except the Western industrial civilization have held holotropic states of consciousness in great esteem. They induced them whenever they wanted to connect to their deities, other dimensions of reality, and with the forces of nature. They also used them for diagnosing and healing, cultivation of extrasensory perception, and artistic inspiration. They spent much time and energy to develop safe and effective ways of inducing them.”

Stanislav Grof (1931) Czech pychiatrist

The Cosmic Game - Explorations of the Frontiers of Human Consciousness (1997), ISBN 0-7914-3876-7, p. 254.

Way, History, Nature, Reality

“In the days before machinery men and women who wanted to amuse themselves were compelled, in their humble way, to be artists. Now they sit still and permit professionals to entertain them by the aid of machinery. It is difficult to believe that general artistic culture can flourish in this atmosphere of passivity.”

Aldous Huxley book The Doors of Perception

The Doors of Perception (1954)

Women, Men, Way

“The word "artist" means man unless qualified by the category "woman."”

Whitney Chadwick (1943)

Women, Art, and Society: Fourth Edition (2007) ISBN 0-500-20393-8

“He who knows the surface of the earth and the topography of a country only through the examination of maps.. is like a man who learns the opera of Meyerbeer or Rossini by reading only reviews in the newspapers. The brush of landscape artists Lorrain, Ruysdael, or Calame can reproduce on canvas the sun's ray, the coolness of the heavens, the green of the fields, the majesty of the mountains…but what can never be stolen from Nature is that vivid impression that she alone can and knows how to impart--the music of the birds, the movement of the trees, the aroma peculiar to the place--the inexplicable something the traveller feels that cannot be defined and which seems to awaken in him distant memories of happy days, sorrows and joys gone by, never to return”

José Rizal (1861–1896) Filipino writer, ophthalmologist, polyglot and nationalist

"Los Viajes" in La Solidaridad (15 May 1889)- translated from the Spanish by Nick Joaquin

Happiness, Music, Travel, Feeling

“I think of Abstract Art in the same way I think of all Art, Past and Present. I see it as divided into two Major categories, Objective and Subjective. Objective Art is Absolute Art. Subjective Art is Illustration, or communication by Symbols, Replicas, and Oblique Emotional Passes. They are both Art, but their Content has no Identity. Their difference cannot be defined as a difference of Idiom, because all Paintings have the Laws of Design as a common denominator. Design exists as an Idiom of Color-Space Logic, and it also exists in an Idiom of Representational Likenesses. Objective Art and Subjective Art exist in both Idioms. Their difference can only be defined in terms of what the Artist thinks his Purpose means-its Content as a Design Image.”

Stuart Davis (1892–1964) American painter

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

Law, Art, Color, Way

“It's rare that you see an artist in his 30s or 40s able to really contribute something amazing.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

At age 29, as quoted in Playboy (February 1985)
1980s, Playboy interview (1985)

“Once again I talked with some painters, but the modern artists [in The Netherlands ] write more than they paint. If you write about art in such a way and you want to paint always with a fixed plan, then you will lose completely the deep, glorious and spontaneous art. You always have to create the new from the very deep, inside.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich habe wieder einige Maler gesprochen, aber die Modernen [in Nederland] schreiben mehr als sie malen. Wenn man so über Kunst schreibt und immer so mit einem festen Plan malen will, dan verliert man ganz und gar die tiefe, herrliche, spontane Kunst. Man muss so ganz tief heraus immer Neuses schaffen.
in a letter to Herwarth Walden, 23 July 1915; the 'Sturm'-Archive, Berlin
very probably Jacoba is refering here to the Dutch Stijl-artists, as Piet Mondrian and Theo v. Doesburg
1910's

Art, Way, Painting

Quotes about artist page 13

Quotes about artist
page 13