Quotes about canvas
page 3

“I have another feeling that in working with a canvas, and with something you picked up off the street and you work on it for three or four days or maybe a couple of weeks and then, all of a sudden, it is in another situation. Much later, you go to see somebody in California, and there it is. You know that you know everything about that painting, so much more than anybody else in that room. You know where you ran out of nails... At the time I did that early piece, I didn't know it was the lower right-hand corner that had the new element – that that part would grow and that other parts would relate more to the past.”

Robert Rauschenberg (1925–2008) American artist

1960's, I never thought of it as much of an ability,' (1968)

Feeling, Time, Past, Parting

“I am not interested in making a picture. Then what the hell I am interested in? I must be interested in that process that I am talking about.. I don't keep the studio very tidy. You have on the floor like cow dung in the field.... and I look down at this stuff on the floor and it's just a lot of inert matter, inert paint. Then what is it? I look back on the canvas, and it's not inert, it's active, moving and living.... Why I need this kind of miracle, I don't know it, but I need it. my conviction is that this is the act of creation to me. That's how I have it.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 73-75

Hell, Painting

“Gayly we glide in the gaze of the world
With streamers afloat and with canvas unfurled,
All gladness and glory to wandering eyes,
Yet chartered by sorrow and freighted with sighs.”

Thomas Kibble Hervey (1799–1859) British poet and critic

The convict Ship.

World

“I knew a painter, a disciple of Gustave Moreau; he was truly a very fine artist, he knew his work quite well, and then … he was starving, he did not know how to make both ends meet and he used to lament. Then one day, a well-wishing friend sent a picture-dealer to his studio. The latter inspected all his works, without discovering anything of interest: the works of the painter were simply not fashionable and therefore without commercial value. But at last the dealer found a canvas with some palette-scrapings in a dusty corner and was suddenly full of enthusiasm: "Here you are! my friend, you are a genius, this is a miracle, it is this you should show! Look at this richness of tones, this variety of forms, and what an imagination.”

The Mother (1878–1973) spiritual collaborator of Sri Aurobindo

As quoted in Paris (1897-1904) http://www.searchforlight.org/TheMother_lifeSketchpart2.htm and also in Mother India: Monthly Review of Culture, Volume 60 by Sri Aurobindo Ashram ( 2007) http://books.google.co.in/books?id=01tMAQAAIAAJ, p. 131.

Imagination, Fashion

“Avoiding all control, I spread out sheets of white paper or canvas in the nature. For some time they stay in the grass, in the rushes of river, in the meadows or among the rocks. Nature registers its presence, covering the surface of the paper with colors, forms and tracks. This process is controlled by a number of agents; such as space and time, substance and causality. It is governed by nature's intensity. It does not, depend on man's interference. Nature is the greatest and most admirable creator, and unlike logic it doesn't fail. The artist obligation is not to shape - handicraft, but to understand the riddles of reality. In such conception of Art there lies, as in the Universe itself, an immense richness, and a countless variety of forms.”

Jacek Tylicki (1951) American artist

Catalogue to exhibition in Gallery 38 - Copenhagen, 1976, as cited in: Leszek Brogowski & Dorota Czerner (transl.). Jacek Tylicki: Art and Artworks. 2014

Art, Color, Understanding, Nature

“Ken Noland has put things in the center [of the painting] and I'll use a symmetric pattern, but we use symmetry in a different way. It's non-relational. In the newer American painting [in contrast to European geometric art] we strive to get the thing in the middle, and symmetrical, but just to get a kind of force, just to get the thing on the canvas. The balance factor isn't important.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 118

Art, Way, Painting

“Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.”

Stephen Spender (1909–1995) English poet and man of letters

"Tradition-Bound Literature and Traditionless Painting"
The Struggle of the Modern (1963)

Art, Music, Painting

“I covered the walls of both basement rooms with Milino, a cheap substitute for canvas, stretched string backwards and forwards across the rooms and attached widths of packing-paper to them, so that they reached down to the floor and as far as the walls that I wanted to paint. I wanted to create a labyrinth which would somehow help to prevent a compositional idea from establishing itself all too quickly. I had the idea of working on all the walls pretty well at the same time, as if they were one large painting completely surrounding me. By constantly wandering in the labyrinth I sought to realise a form of “de-composition.””

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 114 (1985)

Idea, Time, Help, Painting

“I think working on the floor [Helen started 1951-52] came from Pollock. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. And the whole idea of the painting being in a sense choreographed came from him, and that once one made a move toward the canvas surface that there was a dialectic and the surface gave you an answer back, and you gave it an answer back. But that was a Pollock notion of --.... That your plans made accidents, demanded something else and then something else hinged on something else..”

Helen Frankenthaler (1928–2011) American artist

quote about influence of Pollock
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Idea, Thinking, Sense, Painting

“[the process of painting.. ].. is conceived of as an adventure, without preconceived ideas on the part of persons of intelligence, sensibility, and passion. Fidelity to what occurs between oneself and the canvas, no matter how unexpected, becomes central.... the major decisions in the process of painting are on the grounds of truth, not taste…”

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

Truth, Intelligence, Idea, Decision

“Ken Noland would use concentric circles; he'd want to get them in the middle [of the painting] because it's the easiest way to get them there, and he want them there in the front, on the surface of the canvas. If you're that much involved with the surface of anything, you're bound to find symmetry the most natural means.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 118

Way, Nature, Painting

“I worked hard the whole day, so that I am very tired now. Yesterday I made the sketch of the castle [in Vorden] on the canvas and today I painted the sky, the whole day long. I made the composition even more simple by leaving out the creel; the air is painted in the spirit of the [ Swartzwald [? ], but much more stronger and sadder. I hope to show the people how beautiful, how profoundly poetical the castle [is].... please save this thumbnail-sketch [drawn in the letter, on the same paper] and also my previous letter. Who knows the descendants - when reading them, and looking at the sketch - will say: Look, it was in this way how Bilder's very lovely painting was discussed at the House 't Velde, and how it came into life in Vorden. Good-by, my dear Lady..”

Johannes Warnardus Bilders (1811–1890) painter from the Northern Netherlands

translation from Dutch, Fons Heijnsbroek version in original Dutch (citaat van Johannes Warnardus Bilders' brief, in het Nederlands:) Ik heb den gehelen dag hart gewerkt. Zoo dat ik erg moede ben. gisteren had ik de schets van t kasteel [in Vorden] op t' doek gebracht en vandaag heb ik de gehelen dag aan de lucht geschildert , ik heb de compositie nog eenvoudiger gemaakt door de vischkaar weg te laten; de lucht is in de geest van t [Swartzwald[?], maar nog veel sterker en droeviger, ik hoop de menschen te laten zien, hoe schoon, hoe diep poetisch, het kasteel bi.. ..bewaar de krabbel èn ook mijn voorgaande brief, wie weet als het nageslacht, die dan leest, en de krabbel ziet of ze dan niet zeggen, zie op deze wijze kwam dit schoonste schilderij van Bilders in t leven, t werd op ’t Velde besproken, en te Vorden in 't leven geroepen, dag zeer geliefde juffrouw.. J.W. Bilders, in his letter [including a sketch by pen of the landscape with the castle, seen from the garden of the hotel where he stayed] to Georgina van Dijk van 't Velde, from Vorden, 1 Sept. 1868; from an excerpt of the letter https://rkd.nl/nl/explore/excerpts/751236 in the RKD-Archive, The Hague 1860's + 1870's

Love, Life, People, Beauty

“The smaller the world, the better I feel. When the reed is around me, evil has disappeared from the world. I really shall paint the reed next year, I've seriously decided. A small area of reeds with some water under. And then it will appear [on the canvas] exactly in the way it will make one quiet. I will paint it outdoors because I don't have any imagination - by the way, I would find myself very cheeky if I did. I have nothing to add, I have nothing in me and I believe I must be well aware of that because that is my limitation, as a consequence of my temporality.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Hoe kleiner de wereld, hoe beter ik me voel. Het riet om mij heen, dan is het kwade de wereld uit. Volgend jaar zal ik dat riet schilderen, ik heb het mij heilig voorgenomen. Een stukje riet met een stukje water eronder. En dan komt het er precies zo op dat je er stil van wordt. Ik schilder het buiten, want fantasie heb ik niet en dat zou ik trouwens een grote brutaliteit van mijzelf vinden. Ik heb er niets aan toe te voegen, ik heb niets in mij en ik geloof dat ik dat mijzelf goed bewust moet zijn, want als gevolg van mijn tijdelijkheid is dat mijn beperktheid.
Source: Jopie Huisman', 1981, p. 118

World, Way, Feeling, Imagination

“The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself. Indeed, all things move, all things run, all things are rapidly changing... We would at any price re-enter into life.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 23.
1910, Manifesto of Futurist Painters,' April 1910

Life, Universe, Change

“I began [to portray president Kennedy ] with fragmentary sketches—first in charcoal, then in casein, sometimes just heads, sometimes the whole figure. For the first session (during a Medicare conference), I sat on top of a 6-foot ladder to get an unimpeded view of him. Concentrating on bone structure, most of my first sketches of him made him look twenty years younger. This was also because the positions he assumed were those of a college athlete. I made about thirty sketches at the first session and rushed back to a big studio that had been turned over to me by the Norton Gallery, made further drawing combining different aspects, and finally, after a couple days, decided on the proportions and size of the first canvas—4 by 8 feet. In succeeding sessions of sketching, I was struck by the curious faceted structure of light over his face and hair—a quality of transparent ruddiness. This play of light contributed to the extraordinary variety of expressions.”

Elaine de Kooning (1918–1989) American painter

n.p.
1950 - 1971, Painting a Portrait of the President', Elaine de Kooning (1964)

Light, Drawing

“An empty canvas is a living wonder - far lovelier than certain pictures.”

Wassily Kandinsky (1866–1944) Russian painter

Quoted in: Myfanwy Evans Piper (1937) The Painter's Object. p. 53
1930 - 1944

“[Nature] only give it you, when you carefully consider its majesty and greatness. Does it not present beautiful scenes in front of your eyes that impossibly could be described to you by somebody else?…. [scenes], which you can try to realize afterwards in your room on the canvas or panel.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

translation from original Dutch: Fons Heijnsbroek (original Dutch, citaat van B.C. Koekkoek:) [de natuur] alleen schenkt u die bij eene aandachtige beschouwing harer majesteit en grootheid.. .Spreidt zij geene prachttaferelen voor uw oog ten toon, die onmogelijk een ander u zou kunnen beschrijven?. ..die gij naderhand op uwe kamer op het doek of paneel kunt trachten te verwezenlijken. Quote of Koekkoek, 1841: in: Herinneringen aan en Mededeelingen van eenen Landschapschilder, as cited in 'Andreas Schelfhout Onsterfelijk schoon', p. 35 https://www.simonis-buunk.nl/wp-content/uploads/2016/06/catalogus_schelfhout.pdf

Beauty, Nature

“Through all these researches into an art that would lead to immaterialisation, Werner Ruhnau [German architect] and I came together in the architecture of the air. He was hindered by the last obstacle that even a w:Mies van der Rohe [also a German architect, famous for his reflecting glass skyscrapers in the U. S. ] hadn’t been able to overcome: the roof, the screen that separates us from the sky, from the blue sky. And I was hindered by the screen that the tangible blue on the canvas constitutes, which deprives man of a constant vision of the horizon.”

Yves Klein (1928–1962) French artist

In 1958; p. 45
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

Art

“As collage technique replaced oil paint, the cathode ray tube will replace the canvas. Someday artists will work with capacitors, resistors, and semiconductors as they work today with brushes, violins and junk. There are 4,000,000 dots per second on one television screen, just think of the variety of images you can get. It's so cool. It's like going to the moon.”

Nam June Paik (1932–2006) American video art pioneer

Manifesto, New York, October 1965, as cited in Jasia Reichardt (1971). The computer in art. p. 95
1960s

Thinking, Painting

“I do not consider myself a Cubist either because I have come to the conclusion that cubes are not always made for expressing the thought of the brain and of the feeling of the spirit... I capture all these impressions [the visual sensations, Picabia sensed in the modern city] without any hurry to transfer to the canvas. I let them rest in my brain and then, when I'm visited by the spirit of creation, I improvise my paintings just as a musician improvises his music.”

Francis Picabia (1879–1953) French painter and writer

1910's
Source: 'How I see New York', in 'The New York American', New York 30 March 1913, p. 11

Music, Feeling, Sense, Painting

“I don't think of my work as calligraphic. Critics also describe Jackson and De Kooning as calligraphic painters but calligraphy has nothing to do with us. It's interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing. People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.”

Franz Kline (1910–1962) American painter

Quote, (1958)
1960's, Talks with Seventeen Artists, 1962

People, Idea, Thinking, Painting

“In the office there are about fifteen people whose attention is directed toward a table covered with the costly fabric [raw cotton]; one man is bent over the table and another is sort of seating on it – the buyer and the broker are discussing a sample. A painting of a vernacular subject, if there is such a thing, and I think by a better hand than most others (a size 40 canvas, I think). I'm planning another less complicated and more surprising yet, better art, in which everyone is in summer dress, the walls white, and a sea of cotton on the tables. (translation based on M. Kay's, in M. Gérin [ed. ] and M. Kay, transl. 'Degas letters', Oxford, 1947, pp. 29-30, no. 2”

Edgar Degas (1834–1917) French artist

Quote in Gegas letter to his friend James Tissot, New Orleans, 18 February 1873; as quoted in 'Impressionism: A Centenary Exhibition', Anne Distel, Michel Hoog, Charles S. Moffett, the Metropolitan Museum of Art, (New York, N.Y.) 1975, p. 99 Degas is referring to his painting 'Cotton Merchants in New Orleans' [Cotton Merchants in New Orleans https://www.harvardartmuseums.org/art/299832, (1873) 1855 - 1875

People, Art, Thinking, Summer

“Silence can shatter the trivialized deity that has occupied our imaginations and provide God the canvas to begin a new work in our souls.”

Skye Jethani

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

God, Soul, Imagination, Silence

“But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' ten very recent paintings, twenty-five gouaches and watercolors, also recent, and twenty-eight drawings that span the period from 1910-1934. In the majority of the compositions on canvas I used a sand technique more or less consistently.... but I usually don't distinguish between traditional oil painting, gouache, tempera and watercolor, and I even simultaneously use the various techniques in the same work. What is essential for me is to be able to clearly convey what I want, to recount my dream. / consider both technique and form to be mere instruments of expression, and my stories, furthermore, are not narrative or historical in character, but purely pictorial.”

Wassily Kandinsky (1866–1944) Russian painter

From an interview, 28 July 1935, in the Italian daily newspaper 'Lavoro fascista'; as quoted in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 30
1930 - 1944

Books, Dreams, Drawing, Painting

“If you will observe, it doesn’t take
A man of giant mould to make
A giant shadow on the wall;
And he who in our daily sight
Seems but a figure mean and small,
Outlined in Fame’s illusive light,
May stalk, a silhouette sublime,
Across the canvas of his time.”

John Townsend Trowbridge (1827–1916) American author

Authors’ Night.

Light, Time

“Abstract Expressionism – especially Pollock, not the more academic painters like De Kooning – made the threshold between illusion and the stuff of painting lower, the distance between them closer. Pollock made all things about the picture, all the stuff, actual. Taking the canvas off the stretcher, putting it on the floor, made it more real. Mixing up different kinds of paint, getting it to stain in, was getting at a kind of materiality.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 14
Conversation with Karen Wilkin' (1986-1988)

Painting

“.. so before I died I wanted to paint a large canvas that I had worked out in my head, and all month long I worked [on Tahiti] day and night at fever pitch... It's all done without a model.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

late quote about the start of his famous large painting 'Where do we come from? What are we? Where are we going'
Source: 1890s - 1910s, The Writings of a Savage (1996), pp. 159-160: in a letter from Tahiti to a friend, 1898

Painting, Night

“The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is classic white canvas expanded into three-dimensional space.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 144 (1985)

“The famous nude artist, Pricasso, who uses his member to paint, was kept busy swishing his "brush" over the canvas. He was quite a drawcard - and many a male observer whipped out his cellphone to take a picture.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Sexpo's popularity profitable for entrepreneurial granny, 6 February 2009, 5, Independent Online]
About

Business, Painting

“Beforehand I don't make any drawing of the object or objects which I want to paint on the canvas or panel.... but I start directly to situate the designed plan on the canvas - After having thoroughly sketched and thought over my composition, especially the arrangement of light and dark, I start to paint it broadly with oil-paint and try as much as possible to achieve the hue or the colouring, in which I want to see my landscape.... when it is definitely completed.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Ik maak vooraf geene tekeningen van het voorwerp of de voorwerpen, die ik op het doek of paneel wil schilderen.. ..maar begin dadelijk het ontworpen plan op het doek te plaatsen – Na mijne compositie eerst behoorlijk geschetst en beredeneerd te hebben, voornamelijk de schikking van licht en donker, begin ik dezelve met olieverw breed te schilderen, zoveel trachtende de tint of het coloriet er in te brengen, in welke ik mijn landschap.. ..wil gezien hebben.. ..als het geheel afgeschilderd is.
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 98-99

Light, Drawing, Painting

“A painter is somebody who sees. I paint the moment when I set out. When I set out to see. And it’s the same thing for the viewer. When he approaches the canvas, he is advancing towards an encounter. The encounter with vision.”

Bram van Velde (1895–1981) Dutch painter

short quotes, 14 September 1967; p. 67
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Painting

“and here I give it under my hand that I will most willingly begin upon a new canvas [after his first portrait of Lady Dartmouth was criticized and rejected]. But I only for the present beg your Lordship will give me leave to try an experiment upon that picture to prove the amazing effect of dress. I meant to treat it as a cast-off picture and dress it (contrary, I know, to Lady Dartmouth's taste) in the modern way; the worst consequence that can attend it will be her ladyship's being angry with me for a time. I am vastly out in my notion if the face does not immediately look like; but I must know if Lady Dartmouth powders or not in common. I only beg to know that and to have the [first] picture sent down [back] to me..”

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

Quote from Gainborough's letter to Lord Dartmouth, 13 April 1771; 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. 74 1770 - 1788

Way, Time

“I wanted to do something figurative. Well I couldn’t visualize a whole man... I felt that I wanted to make a painting primarily with painterly means. So I flattened out my canvas and made them roughly rectangular divisions, with lines going out in four directions. That is, vertically and horizontally... And then I would free associate, putting whatever came to my mind freely within these different rectangles… I thought of it as related tot the automatic writing the surrealists were interested in.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Painting

“[with painting] directly tube against canvas, one soon becomes too slick... I regretfully realized that my composition was reduced to no more than a series of coloured rhythms, harmonious, discordant, monotonous and that, from simplification to simplification, I was falling into the trap of decoration. I no longer got to the bottom of things: I no longer cut through to their heart. The decorative spirit was leading me to forget painting.”

Maurice de Vlaminck (1876–1958) French painter

Vlaminck himself had become disillusioned with Fauvism, c. 1907-08
Source: Quotes dated, Dangerous Corner', 1929, p. 15

Heart, Painting, Forgetting

“People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.eventiesagre.it/Eventi_Mostre/18010_Sogni+Miti+Colori.html, Eventi Mostre. Sogni Miti Colori 07/06/2008-30/06/2008 Pietrasanta (LU), Toscana, www.eventiesagre.it, Italian, 28 February 2013

People, Art, Feeling, Business

“Art deals with profound and simple moods.... Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.... he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

quote from an interview in 'A Paris painter', H. Hapgood; in 'Globe and commercial Advertiser', 20 February 1913, p. 8 / 10
1910's

Life, Art, Way, Mood

“The first two things to study are form and values. For me, these are the bases of what is serious art. Color and finish put charm into one’s work.... it seems to me very important to begin by an indication of the darkest values (assuming that the canvas is white), and to continue in order to the lightest value. From the darkest to the lightest I would establish twenty shades... Never lose sight of that first impression by which you were moved. Begin by determining your composition. Then the values – the relation of the forms to the values. These are the basis. Then the color, and finally the finish.”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 240
1820 - 1850

Art, Color, Study

“Clement Greenberg talked about the ideas or possibilities of painting in his - I think -, 'After Abstract Expressionism' article, and he allows a blank canvas to be an idea for a painting. It might not be a good idea, but it's certainly valid. Yves Klein did the empty gallery. He sold 'air', and that was a conceptualized art, I guess.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 122

Art, Idea, Thinking, Painting

“When I want to do a painting with one colour overlapping another, it has to be a real overlap, not a depicted overlap. I didn't want to paint an overlap, meaning that it would be a deception or illusion. I no longer wanted to depict space, but to make a work that existed in literal space. Thus, my recent works are one canvas as a relief over another canvas. Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White 1952. It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009

Idea, Painting

“Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from 'Eenheid' [Dutch art-magazine] no. 283, 6 November 1915; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, pp. 105–106
1912 – 1919

Art, Color

“Do you see that corner of canvas there [of his painting 'La Ferme'], large as the hand, does it not seem to you that it far surpasses in intensity, in clearness, in expression, the rest of the canvas? [Sensier confirmed]. Well, then, all the rest must pass under the control of that little centre; all that which surrounds it submit itself to that diapason of light and the whole of the picture be as charged with life as that which you see there. Must we not incessantly lift ourselves, surpass ourselves, in this terrible profession of painter?”

Théodore Rousseau (1812–1867) French painter (1812-1867)

quote from a talk with Alfred Sensier, c. 1865; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, pp. 159-60
the quote is pointing to his painting 'The Farm / La Ferme', upon which Rousseau had worked for years
1851 - 1867

Life, Light, Painting

“Using the scanty means at my disposal I attempted to paint the room together with several objects that I had gathered together, white on white. The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is a classic white canvas expanded into three-dimensional space. It was in these surroundings that I rolled across the room, my body wrapped up in pieces of white cloth like a pile of parcels. The pieces of cloth unwound themselves from my tense body, which for a long time remained in a catatonic position, with the soles of both my feet stuck as it were to the wall. […] I had planned to do some bodypainting for the second part of the performance. […] At first I poured black paint over the white objects, I painted Anni with the aim of making a “living painting”. But gradually a certain uncertainty crept in. This was caused by jealous fight between two photographers, which ended by one of them leaving the room in a rage. […] My unease increased, as I became aware of the defects in my “score”-and should this not have any, the mistakes in the way I was translating it into actions. Recognising this, I succumbed to a fit of painting which was like an instinct breaking through. I jammed myself into a step-ladder that had fallen over and on which I had previously done the most dreadful gymnastic exercises, and daubed the walls in frantic despair-until I was exhausted. The very last hour of “informel.””

Günter Brus (1938) Austrian artist

Mühl angrily ridiculed my relapse into a “technique” that had to be overcome.
Source: Nervous Stillness on the Horizon (2006), P. 120 (1985)

Way, Exercises, Rage, Time

“My painting, at the limit, can only signify itself… It is. So much so, and so well, that anyone can make it and claim it… Perhaps the only thing that one can do after having seen a canvas like ours is total revolution.”

Daniel Buren (1938) sculptor from France

Daniel Buren in an 1968 interviewer, cited in: Andrew Russeth, " Daniel Buren Shows His Stripes: The Celebrated Artist’s Two-Gallery Show Is On, After a Sandy Delay http://observer.com/2013/01/daniel-buren-shows-his-stripes-the-celebrated-artists-two-gallery-show-is-on-after-a-sandy-delay/#ixzz3bQq73uPq." at observer.com, 01/08/13 1960s

Painting

“Miss Havisham had told me about Generics. They were created here in the Well to populate the books that were to be written. At the point of creation they were simply a human canvas without paint - blank like a coin, ready to be stamped with individualism. They had no history, no conflicts, no foibles - nothing that might make them either readable or interesting in any way. It was up to various institutions to teach them to be useful members of fiction. They were graded, too. A to D, one through ten. Any that were D-graded were like worker bees in crowds and busy streets. Small speaking parts were C-grades; B-grades usually made up the bulk of featured but not leading characters. These parts usually -but not always- went to the A-grades, handpicked for their skills at character projection and multidimensionality.”

Jasper Fforde book The Well of Lost Plots

The Well of Lost Plots (2003), ch.1, p. 11

Books, Way, History, Business

“The moon, full-orbed, forsakes her watery cave,
And lifts her lovely head above the wave;
The snowy splendours of her modest ray
Stream o'er the glistening waves, and quivering play;
Around her, glittering on the heaven's arched brow,
Unnumbered stars, enclosed in azure, glow,
Thick as the dew-drops of the April dawn,
Or May-flowers crowding o'er the daisy lawn;
The canvas whitens in the silvery beam,
And with a mild pale-red the pendants gleam;
The masts' tall shadows tremble o'er the deep;
The peaceful winds a holy silence keep;
The watchman's carol, echoed from the prows,
Alone, at times, awakes the still repose.”

William Julius Mickle (1734–1788) British writer

Book I, lines 417–430 (pp. 23–24)
The Lusiad; Or, The Discovery of India: an Epic Poem (1776)

Love, Peace, Star, Flowers

“[Frank] Stella is not interested in expression or sensitivity. He is interested in the necessity of painting... His stripes are the paths of brush on canvas. These path leads only into painting.”

Carl Andre (1935) American artist

quote c. 1959, in 'Preface to Stripe Painting', by Carl Andre, in Sixteen Americans ed. Miller, p. 76
Andre's remark is referring to Andre's close artist-friend Frank Stella, the American minimalist painter

Painting

“When a person speculates about my identity, it reveals something about their own background and preferences. If the canvas is blank; the only thing people can see on its surface is themselves.”

John Twelve Hawks American writer

From Interviews

People, Personality

“The artist discards all theories, both his own and those of others. He forgets everything when he is in front of his canvas.”

Georges Rouault (1871–1958) French painter

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

Forgetting

“[PlayStation 2] is a new canvas for humanity that takes us back to our nature.”

Trip Hawkins (1953) American businessman

Quoted in "The Amazing PlayStation 2", Newsweek, 2006-02-26

Nature

“The new masters paint a subject as they please,
And Veronese is prosecuted by the Inquisition
For the dogs playing at the feet of Christ,
The earth is a planet among galaxies.
Later Christ disappears, the dogs disappear: in abstract
Understanding, without adoration, the last master puts
Colors on canvas, a picture of the universe
In which a bright spot somewhere in the corner
Is the small radioactive planet men called Earth.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"The Old and the New Masters," lines 53-61
The Lost World (1965)

Men, Dogs, Color, Understanding

“I am always working on a number of canvases at one time, eight, ten.... I take years to finish them, but I look at them each day... You see the advantage of not working from real life – the apples would be rotten long before I completed my canvas... I find that it is important to work slowly. Anyone who looks at such a canvas will follow the same path the artist took, and he will experience that it is the path which counts more than the outcome of it, and that the route taken has been the most interesting part.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1946 - 1963, Cahiers d'art', 1954, p. 14

Life, Time, Parting

“In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing... The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn’t have been using Duco [industrial paint, like Willem de Kooning did]. My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp [turpetine] – the way I use paint today... The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 77.

Way, Time, Painting

“Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn't touch the surface on the canvas, it's just above.... [so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

Freedom, Painting

“Experiment more and don't let people box you in. There is nothing you can't put on your canvas if it is part of your life.”

Bono (1960) Irish rock musician, singer of U2

Bono: The Rolling Stone Interview (2017)
Context: I'm less unsure about taking political risks or social risks. When I became an activist, people were like, "Really?" But they eventually accepted that. Then I started to be interested in commerce and the machinery of what got people out of poverty and into prosperity. And then a few people said, "You can't really go there, can you?"
I said, "But if you are an artist, you must go there." You and I have had the conversation over the years: What can the artist do? What is the artist not allowed to do, and are there boundaries? Now, I would say to my younger self: "Experiment more and don't let people box you in. There is nothing you can't put on your canvas if it is part of your life."

Life, People, Parting, Box

“Old paint on a canvas, as it ages, sometimes becomes transparent.”

Lillian Hellman book Pentimento

Pentimento: A Book of Portraits (1973), Introduction
Context: Old paint on a canvas, as it ages, sometimes becomes transparent. When that happens it is possible, in some pictures, to see the original lines: a tree will show through a woman's dress, a child makes way for a dog, a large boat is no longer on an open sea. That is called pentimento because the painter "repented," changed his mind. Perhaps it would be as well to say that the old conception, replaced by a later choice, is a way of seeing and then seeing again. That is all I mean about the people in this book. The paint has aged and I wanted to see what was there for me once, what is there for me now.

Age, Painting

“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.

Silence, Painting

“A thousand forms and passions glow
Upon the world-wide canvas.”

Francis Turner Palgrave (1824–1897) English poet and critic

The Ancient And Modern Muses
Context: A thousand forms and passions glow
Upon the world-wide canvas. So
With larger scope our art we ply;
And if the crown be harder won,
Diviner rays around it run,
With strains of fuller harmony.

World, Passion

“You must be painter who takes a canvas and does what he likes with it.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Encountering Directors interview (1969)
Context: You must be painter who takes a canvas and does what he likes with it. We are more like painters in past centuries who were ordered to paint frescoes to specific measurements. Among the people in the fresco may be a bishop, the prince's wife, etc. The fresco isn't bad simply because the painter used for models people from the court of the prince who ordered and paid for it.

“Life is a great big canvas; throw all the paint you can at it.”

Danny Kaye (1913–1987) American actor, singer, dancer, and comedian

Life, Painting, Cute

“I am a canvas of my experiences, my story is etched in lines and shading, and you can read it on my body. ”

Кэт Фон Ди (1982)

Reading

“A canvas map lay under my helmet with its four silver stars. Only five years before on May 7, as a lieutenant colonel in civilian clothes, I had ridden a bus down Connecticut Avenue to my desk in the old Munitions building. I opened the mapboard and smoothed out the tabs of the 43 divisions now under my command. They stretched across a 640-mile front of the 12th Army Group. With a china-marking pencil, I wrote in the new date: D plus 335. I walked to the window and ripped open the blackout blinds. Outside the sun was climbing into the sky. The war in Europe had ended.”

Omar Bradley (1893–1981) United States Army field commander during World War II

Closing words, p. 554
A Soldier's Story (1951)

War, Star, Sun, Clothes

“I never intended to write solely about Arab characters, or even primarily about them, but because they were such a big part of my first two novels and my memoir, people reckoned that was my main literary terrain. It wasn’t really a deliberate decision to move away from Arab characters in my later books, but more a desire to paint on a broader canvas, one that was closer to my day-to-day experience.”

Diana Abu-Jaber (1960) Novelist, short story writer, teacher

On character writing in “‘America is not the Final Word:’ An Interview with Diana Abu-Jaber” https://solsticelitmag.org/blog/america-not-final-word-interview-diana-abu-jaber/ in Solstice

People, Books, Decision, Parting

“When I first started doing self-portraits – and I didn’t start until I was in my 40s, quite late – I did these portraits where my hand was kind of stretched out toward the canvas, as if about to paint…I suppose I was imitating those famous poses of Goya or Rembrandt. But something felt so false about that. Somehow women don’t have a secure place in the history of art and to portray myself in this way standing squarely, about to paint, it wasn’t right.”

Celia Paul (1959) British artist

On her painting techniques in “Celia Paul on life after Lucian Freud: ‘I had to make this story my own’” https://www.theguardian.com/artanddesign/2019/oct/27/celia-paul-self-portrait-memoir-interview-lucian-freud in The Guardian (2019 Oct 27)

Women, Art, Way, History

“The mystery story is a kind of writing that need not dwell in the shadow of the past and owes little if any allegiance to the cult of the classics. It is a good deal more than unlikely that any writer now living will produce a better historical novel than Henry Esmond, a better tale of children than The Golden Age, a sharper social vignette than Madame Bovary, a more graceful and elegant evocation than The Spoils of Poynton, a wider and richer canvas than War and Peace or The Brothers Karamazov.”

Raymond Chandler book The Simple Art of Murder

But to devise a more plausible mystery than The Hound of the Baskervilles or The Purloined Letter should not be too difficult. Nowadays it would be rather more difficult not to.
Introduction
The Simple Art of Murder (1950)

War, Children, Age, Peace

“In some states, hundreds of our workers have been killed because of their political views. Political untouchability is gaining ground by the day. In some places, just the name of BJP is enough to create an atmosphere of untouchability…. Why are our workers killed or attacked in Kashmir, Kerala or Bengal? It is shameful and anti-democratic… But today, in the political canvas of the nation, if there is one party that lives and breathes democracy, it is the BJP.”

Narendra Modi (1950) Prime Minister of India

Narendra Modi quoted in BJP Lives And Breathes Democracy Despite Facing Political Untouchability And Violence’: PM Modi In Varanasi https://swarajyamag.com/insta/bjp-lives-and-breathes-democracy-despite-facing-political-untouchability-and-violence-pm-modi-in-varanasi NDTV https://www.ndtv.com/india-news/after-mega-victory-pm-narendra-modi-says-the-bjp-suffered-political-untouchability-violence-2043561 2019

Democracy

“Christine would surely be talking, even if she had only an ape as audience. To her, any silence was as great a challenge as a blank canvas; it had to be filled with the sound of her own voice.”

Arthur C. Clarke (1917–2008) British science fiction writer, science writer, inventor, undersea explorer, and television series host

An Ape About the House, p. 802
2000s and posthumous publications, The Collected Stories of Arthur C. Clarke (2001)

Silence

“Only now I see what I am capable of and I don't understand that I have been able to make this canvas in my small front room.”

Herman Kruyder (1881–1935) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018

(version in original Dutch / origineel citaat van Herman Kruyder:) Nu pas zie ik waartoe ik in staat ben en ik begrijp niet dat ik het doek in mijn kleine voorkamer [1928, in Blaricum] heb kunnen maken.

Kruyder, c. 1931; as quoted by Regnault in his Memories; as cited in Herman Kruyder 1881 – 1935: gedoemde scheppingen, ed. Mabel Hoogendonk; (ISBN 90-400-9905-7), Waanders, Zwolle 1997, p. 30

Kruyder's reaction after seeing his own painting 'Groot landschap uit Limburg' hanging in a large room of the house of his art-buyer P.A. Regnault
dated quotes

Making love, Understanding

“At the coast you can see the most beautiful sea. I also made my panorama there. I regard it as my most important work; because it gives such a huge impression of nature. But I don't like to start it all again; to paint sixteen hundred meters of canvas there..”

Hendrik Willem Mesdag (1831–1915) painter from the Northern Netherlands

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Hendrik Willem Mesdag, in het Nederlands:) Aan de kust zie je de mooiste zee. Daar heb ik ook mijn panorama gemaakt. Dat beschouw ik als mijn belangrijkste werk; omdat 't zoo'n groote impressie geeft van de natuur. Maar'k zou 't niet graag nog's weer beginnen; daar zestien honderd meter doek te schilderen..

Quote of Mesdag (after 1881), cited by Godfried Bomans?, in magazine De Volkskrant, 23 July, 1966
after 1880

Beauty, Nature, Painting, Sea

“God just put a love for it inside of me, I love telling stories, drawing and painting. Animation is a fairly solitary art form. But what happens when you sit in a theater with an audience and you hear their audible responses to your work—the crying, the laughter—there is nothing like it. I just love storytelling. I am a ham actor with a pencil. I love performing on canvas or on paper or right now on a digital screen.”

John Pomeroy (1951) animator

Animation professor returns to roots as illustrator of Disney biography https://www.lipscomb.edu/now/animation-professor-returns-roots-illustrator-disney-biography (May 8, 2019)

Love, God, Making love, Art

“The thoughts we choose to think are the tools we use to paint the canvas of our lives.”

Louise L. Hay (1926–2017) American writer

Thinking, Painting

“Life is Unshaped Draw your Canvas.”

Rachit Yadav (1996) Indian Author

Source: Where India Writes 2021 https://g.co/kgs/H2r3oQ (2021)

Life, Drawing

Quotes about canvas page 3

Quotes about canvas
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