Quotes about paint
page 13

“But with photography as with drawing or painting, once it is done I want to know whether it holds together or not. That is the real critique. I couldn’t care less if the person to whom I show what I do likes it or not — it takes all sorts to make a world and all that. To criticize is to put oneself in someone else’s shoes and try to figure out what they wanted to do. Only the “why” of things is important to me.”

Henri Cartier-Bresson (1908–2004) French photographer

Source: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, We Always Talk Too Much: Conversation with Pierre Assouline (1994), p. 132

World, Shoe, Drawing, Painting

“I haven't really touched machinery except for a few elementary mechanisms like levers and balances. You see nature and then you try to emulate it. But, of course, when I met Mondrian [Paris, 1930] I went home and tried to paint [for a while]. The basis of everything for me is the universe. The simplest forms in the universe are the sphere and the circle. I represent them by disks and then I vary them. My whole theory about art is the disparity that exists between form, masses and movement. Even my triangles are spheres, but they are spheres of a different shape.”

Alexander Calder (1898–1976) American artist

Question, Which has influenced you more, nature or modern machinery?
1950s - 1960s, interview with Alexander Calder', (1962)

Art, Home, Nature, Universe

“Adieu, adieu, I am going to see up there [after death] whether friend Corot has found me any new subjects for landscape painting.”

Charles-François Daubigny (1817–1878) French painter

Quote, as recorded by Albert Wolff, 1880's, in Notes upon certain masters of the XIX century, - printed not published MDCCCLXXXVI (1886), The Art Age Press, 400 N.Y. (written after the exhibition 'Cent Chefs-d'Oeuvres: the Choice of the French Private Galleries', Petit, Paris / Baschet, New York, 1883, p. 74
Daubigny's final thought for art in 1878 was appearently strongly connected with Corot.
1860s - 1870s

Death, Painting

“Painting's not important. The important thing is keeping busy.”

Grandma Moses (1860–1961) American artist

As quoted in New Leaves (1986) by Louise Matteoni

Business, Painting

“How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling..”

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

from: Miro, on English Wikipedia
Miró's quote on 'automatic painting and drawing', explaining the start of his work 'Harlequin's Carnival' he made in Paris, strongly admired then by Surrealists like André Breton
1915 - 1940

Home, Idea, Thinking, Drawing

“We believe that we can find the end, and that a painting can be finished. The Abstract Expressionists always felt the painting's being finished was very problematical. We'd more readily say that our paintings were finished and say, well, it's either a failure or it's not, instead of saying, well, maybe it's not really finished.”

Frank Stella (1936) American artist

Quote from an interview, 1966; as quoted in Minimal Art, a Critical Anthology, ed. Gregory Battcock, University of California Press, Berkeley 1968, p. 157-161
Quotes, 1960 - 1970

Failure, Painting

“I don't paint cows but light”

Willem Maris (1844–1910) Dutch landscape painter of the Hague School (1844-1910)

version in original Dutch / origineel citaat van Willem Maris: Ik schilder geen koeien, maar licht. 2 short Quotes of Willem Maris, c. 1880; as cited in 'Schilder Maris' http://www.wittebrugpark.nl/wittebrugpark/schilders/maris/maris.htm (translation from original Dutch, Fons Heijnsbroek, 2018)

Light, Painting

“The truth is I am a perfect part of the exact point at which all individual human beings meet and the spectrum of voices weaving themselves in between and screaming 'every sick thought you've ever had and every twisted feeling you've ever felt are what make this painting complete.”

Buddy Wakefield (1974) American poet

Thin Ice
Poetry

Truth, Feeling, Parting, Painting

“In 1964 I was at school, planning to study economics and sociology, when curiosity took me to the Tate Gallery to see an international survey exhibition of contemporary art. It brought together the painting and sculpture of the previous decade, beginning with the late works of the modern masters, Matisse and Picasso, and concluding with the twenty-seven year olds Allen Jones and David Hockney. I was bowled over. Suddenly, art was not just Turner and Constable, or Leonardo and Michelangelo, but objects of considerable size and brilliant colour, dealing with the sensations, subjects and issues of the Sixties.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

School, Art, Study, Painting

“There are moments or periods when it would be wonderful to plan something and do it and have the thing only do what you planned to do, and then, there are other times when the destruction of those planned things becomes interesting to you. So then, it becomes a question of destroying – of destroying the planned forms; it's like an escape, it's something to do, something to begin the situation. You yourself, you don't decide, but if you want to paint, you have to find out some way to start this thing off, whether it is painting it out or putting it in..”

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

Way, Question, Time, Painting

“We aren't no thin red 'eroes, nor we aren't no blackguards too,
But single men in barricks, most remarkable like you;
An' if sometimes our conduck isn't all your fancy paints,
Why, single men in barricks don't grow into plaster saints.”

Rudyard Kipling book Barrack-Room Ballads

Tommy, Stanza 4.
Barrack-Room Ballads (1892, 1896)

Men, Painting

“You [the interviewer Edouard Roditi, in 1958] have probably understood that I had always been mainly a plain-air painter, though I also painted portraits and still-life compositions. At first I experienced great difficulty with my brushwork – I mean with that the French call 'la touche de pinceau'. So Kandinsky taught me how to achieve the effects that I wanted with a palette knife. In the view from my window in Sèvres, that I painted in 1906, when we were together in France, you can see how well he taught me. Later of course, here in Murnau, I learned to handle brushes, too, but I managed this by following Kandinsky's example, first with a palette knife, than with brushes.”

Gabriele Münter (1877–1962) German painter

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

Life, Learning, Painting

“Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two)”

Robert Rauschenberg (1925–2008) American artist

from Selections from the Ileana and Michael Sonnabend Collection, Sam Hunter, exhibition catalogue The Art Museum, Princeton University, 1985 p. 21
1980's

Life, Art, Painting

“A fresh river in a beautiful meadow
Imagined in his mind
The good Painter, who would some day paint it”

Jeff VanderMeer book City of Saints and Madmen

"The Transformation of Martin Lake", epigram, p. 130
City of Saints and Madmen (2001–2004)

Beauty, Imagination, Painting

“Someone finally understood all the “hell” that I’d been through since a child when I’d first tried to understand language. And yet in other forms of communications, like painting, sculpture, music, math, problem-solving, and chess, I’d been very good. In fact, in high school, once I learned how to play chess, I’d play lightning-fast, intuitively seeing all these different possibilities at the same time, and I’d won well over a hundred chess games without losing a single game. And that included beating some of our faculty members who thought that they were very good at chess.”

Victor Villaseñor (1940) American writer

Burro Genius: A Memoir (2004)

School, Music, Game, Communication

“.. isn't it stupid that what you were writing in your article is still understood by so few people. Among others there was somebody - I believe in the [magazine] 'Nieuws van de Dag' -, who thought the 'Old woman in front of the hearth' [painting of Israels]….- how beautifully painted - was as sickening subject. - Furthermore, Alberd. Thijm [Dutch art-critic and very critical of Israel's' often applied 'dejection'] was also raving strongly about my pulling down of the togs of the poor people. Well-roared, lion, I thought - well understood [ironic! ] for what reason I painted it.. (translation from the original Dutch: Fons Heijnsbroek)”

Jozef Israëls (1824–1911) Dutch painter

version in original Dutch (citaat van Jozef Israëls in Nederlands): ..is het niet gek dat wat gij zegt in uw stuk nog door zo weinig mensen begrepen wordt. Onder anderen was er iemand ik geloof in het 'Nieuws van den Dag', die de 'oude vrouw bij den haard' [in een schilderij van Israels].. ..hoe mooi ook geschilderd walgelijk zegge walgelijk van onderwerp vond. – Voorts is [kunst-criticus, erg kritisch op Israëls' vaak toegepaste 'neerslachtigheid'] ook erg aan 't malen geweest over mijn omhalen van de plunje van de arme lui. Goed gebruld leeuw dacht ik – goed begrepen [ironisch!] waarvoor het geschilderd is..
In a letter, 10 May 1885, to A.S. Kok in The Hague; in R.K.D. The Hague: Archive of A.S. Kok
Quotes of Jozef Israels, 1871 - 1900

People, Stupidity, Art, Painting

“Vertically striped sheets of paper, the bands of which are 8.7 cms wide, alternate white and colored, are stuck over internal and external surfaces: walls, fences, display windows, etc.; and/or cloth/canvas support, vertical stripes, white and colored bands each 8.7 cms, the two ends covered with dull white paint.
I record that this is my work for the last four years, without any evolution or way out. This is the past: it does not imply either that it will be the same for another ten or fifteen years or that it will change tomorrow.
The perspective we are beginning to have, thanks to these past four years, allows a few considerations of the direct and indirect implications for the very conception of art. This apparent break (no research, or any formal evolution for four years) offers a platform that we shall situate at zero level, when the observations both internal (conceptual transformation as regards the action/praxis of a similar form) and external (work/production presented by others) are numerous and rendered all the easier as they are not invested in the various surrounding movements, but are rather derived from their absence.”

Daniel Buren (1938) sculptor from France

" Beware!" ("Mise en garde!") http://web.mit.edu/allanmc/www/buren1.pdf, in Konzeption/Conception, translated by Charles Harrison and Peter Townsend (Leverkusen: Stadtischer Museum, 1969. 1960s

Art, Color, Way, Support

“.. I therefore got around to painting [in Amsterdam, 1883] and that's why teaching started to become a burden for me. So then it HAD to happen now: Make or break! And I asked my dismissal at the school, threw away my 2500 florin a year, sacrificed everything, although I never made any painting yet, and certainly sold nothing at all. And my acquaintances, my family, they found me reckless and shamefully frivolous with my sacrifice to art, for which they did not felt any sympathy or understand anything of it after all.”

Suze Robertson (1855–1922) Dutch painter

(version in original Dutch / origineel citaat van Suze Robertson:) ..ik kwam zodoende meer aan 't schilderen [inmiddels in Amsterdam, 1883], waardoor 't lesgeven me begon te bezwaren. Dus dan MOEST het ook maar: erop of eronder! En ik vroeg mijn ontslag aan de school, gooide mijn f 2500,- per jaar weg, offerde àlles op, hoewel ik nog nooit 'n schilderij gemaakt, laat staan iets verkocht had. En m'n kennissen, m'n familie, ze vonden me roekeloos en schandelijk lichtzinnig met mijn offer aan de kunst, waarvoor ze immers niets voelden of van begrepen..
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 31

School, Family, Art, Understanding

“Art is the illusion of disorientation, the illusion of liberty, the illusion of presence, the illusion of the sacred, the illusion of Nature. … Not the painting of Buren, Mosset, Parmentier or Toroni…. Art is a distraction, art is false. Painting begins with Buren, Mosset, Parmentier, Toroni.”

Daniel Buren (1938) sculptor from France

Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni, at the Paris Biennale in October 1967. Translated and cited in: Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972, New York: Praeger, (1973), p. 30.
1960s

Art, Nature, Painting, Falseness

“The Oriental heritage, due to the long sojourn of the Moors in Spain, had a profound influence on the taste of the people. From these Oriental invaders the Spaniards derived the great surfaces of blank wall with occasional spots of luxuriant ornament that characterize nearly all their work. From them also comes the love of bright color shown in the use of polychrome tiles and rich fabrics and in the painting and gilding of sculpture and ornamental motives. While the large constructive forms, particularly vaults and domes, are frankly and simply expressed, the ornament as in the work of the Orient, is rather an incrustation, a mere surface decoration, than a pretense at logical construction.”

Clarence Stein (1882–1975) American architect

A Triumph of Spanish Colonial Style (1916)

Love, People, Color, Motivation

“Man axalotl here below but I ask very little. Some fragments of Pamphylides, a Choctaw blood-mask, the prose of Scaliger the Elder, a painting by Fuseli, an occasional visit to the all-in wrestling, or to my meretrix; a cook who can produce a passable 'poulet à la Khmer,' a Pong vase. Simple tastes, you will agree, and it is my simple habit to indulge them!”

Cyril Connolly (1903–1974) British author

"Told in Gath"
The Condemned Playground (1945)

Painting, Cooking

“It was van Gogh's madness that prevented him from working; the paintings themselves are ineffably sane, if sanity is to be defined in terms of exact judgment of ends and means and the power of visual analysis.”

Robert Hughes (1938–2012) Australian critic, historian, writer

"Vincent van Gogh, Part I" (1984)
Nothing If Not Critical (1991)

Painting, Madness

“Only a child had its place on the cross, and that was enough for me [to paint his Crucifixions, earlier].... in the exact sense there was no cross but a blue child in the air. The cross interested me less.”

Marc Chagall (1887–1985) French artist and painter

as quoted in From Rebel to Rabbi: Reclaiming Jesus and the Making of Modern Jewish Culture, Matthew B. Hoffman; Stanford University Press, 2007, p. 219
after 1930

Sense, Painting

“A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, pp.283/284
1910 - 1935

Way, Quotes, Sleep, Memory

“I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14... Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place.”

Elaine de Kooning (1918–1989) American painter

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

Love, Art, Way, Understanding

“The technical procedures doubtless release energies in the artist that remain unused in the much more lightweight processes of drawing or painting”

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

referring to his printmaking
Quote from Uber Kirchners Graphik, (under his pseudonym de:Louis de Marsalle) E. L. Kirchner, Genius 3, Book 2, 1922, 251-63, reprinted by National Gallery, Washington D.C. 2003, p. 226
1920's

Drawing, Painting

“About Van Gogh.. a man who is on fire, a torch. His sincerity is absolute. His best painting is the grain field where he kills himself. There we find ourselves at the border of the art of painting. We cannot go further.”

Bram van Velde (1895–1981) Dutch painter

1980's
Source: Je peins l'Impossibilité de peindre, by M. Nuridsany, newspaper Le Figaro, 24-10-1989, p. 35, as quoted in Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 40 (English translation: Charlotte Burgmans)

Art, Painting, Sincerity

“[ Futurism's].. superficial expression of velocity, the aeroplane, the racing-car and so on, is but a weak expression of the inner velocity of thought compared to which the velocity of radium represents nothing but inertia... The mimetic expression of velocity (whatever its form may be: the aeroplane, the automobile, and so on) is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life.”

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

Quote from Dutch art-magazine: 'Eenheid' (Dutch, for Unity) no. 127, 9 November 1912; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 16
1912 – 1919

Life, Cars, Future, Painting

“What should be the profession of faith of a sound but reasonable Imperialist? He will not be possessed with any secret desire to see the whole of Africa or of Asia painted red on the maps. He will entertain not only a moral dislike, but also a political mistrust of that excessive earth-hunger, which views with jealous eyes the extension of other and neighbouring European nations. He will have no fear of competition. He will believe that, in the treatment of subject races, the methods of government practised by England, though sometimes open to legitimate criticism, are superior, morally and economically, to those of any other foreign nation; and that, strong in the possession and maintenance of those methods, we shall be able to hold our own against all competitors.”

Evelyn Baring, 1st Earl of Cromer (1841–1917) British diplomat

Political and Literary Essays, 1908-1913

Hunger, Secret, Fear, Faith

“Oh, If I had been able to realize you with my hand. If the painted canvas was able to give me your dear image. The labor was you ['The Unknown'] the work of art was me – I have kissed your head, I have looked elsewhere… You are neither good, nor charitable. You do not know how to love. – You are only great and beautiful. I sacrificed to tenderness and still, my self, you do not know how to love.”

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, Beauty, Art, Kiss

“History knew a midnight, which we may estimate at about the year 1000 A. D., when the human race lost the arts and sciences even to the memory. The last twilight of paganism was gone, and yet the new day had not begun. Whatever was left of culture in the world was found only in the Saracens, and a Pope eager to learn studied in disguise in their unversities, and so became the wonder of the West. At last Christendom, tired of praying to the dead bones of the martyrs, flocked to the tomb of the Saviour Himself, only to find for a second time that the grave was empty and that Christ was risen from the dead. Then mankind too rose from the dead. It returned to the activities and the business of life; there was a feverish revival in the arts and in the crafts. The cities flourished, a new citizenry was founded. Cimabue rediscovered the extinct art of painting; Dante, that of poetry. Then it was, also, that great courageous spirits like Abelard and Saint Thomas Aquinas dared to introduce into Catholicism the concepts of Aristotelian logic, and thus founded scholastic philosophy. But when the Church took the sciences under her wing, she demanded that the forms in which they moved be subjected to the same unconditioned faith in authority as were her own laws. And so it happened that scholasticism, far from freeing the human spirit, enchained it for many centuries to come, until the very possibility of free scientific research came to be doubted. At last, however, here too daylight broke, and mankind, reassured, determined to take advantage of its gifts and to create a knowledge of nature based on independent thought. The dawn of the day in history is know as the Renaissance or the Revival of Learning.”

Carl Gustav Jacob Jacobi (1804–1851) German mathematician

"Über Descartes Leben und seine Methode die Vernunft Richtig zu Leiten und die Wahrheit in den Wissenschaften zu Suchen," "About Descartes' Life and Method of Reason.." (Jan 3, 1846) C. G. J. Jacobi's Gesammelte werke Vol. 7 https://books.google.com/books?id=_09tAAAAMAAJ&pg=PA309 p.309, as quoted by Tobias Dantzig, Number: The Language of Science (1930).

Life, World, Faith, Law

“Treasure maps; Czarist bonds; a case of stuffed dodos; Scarlett O'Hara's birth certificate; two flattened and deformed silver bullet heads in an old matchbox; Baedeker's guide to Atlantis (seventeenth edition, 1902); the autograph score of Schubert's Unfinished Symphony, with Das Ende written neatly at the foot of the last page; three boxes of moon rocks; a dumpy, heavy statuette of a bird covered in dull black paint, which reminded him of something but he couldn't remember what; a Norwich Union life policy in the name of Vlad Dracul; a cigar box full of oddly shaped teeth, with CAUTION: DO NOT DROP painted on the lid in hysterical capitals; five or six doll's-house-sized books with titles like Lilliput On $2 A Day; a small slab of green crystal that glowed when he opened the envelope; a thick bundle of love letters bound in blue ribbon, all signed Margaret Roberts; a left-luggage token from North Central railway terminus, Ruritania; Bartholomew's Road Atlas of Oz (one page, with a yellow line smack down the middle); a brown paper bag of solid gold jelly babies; several contracts for the sale and purchase of souls; a fat brown envelope inscribed To Be Opened On My Death: E. A. Presley, unopened; Oxford and Cambridge Board O-level papers in Elvish language and literature, 1969-85; a very old drum in a worm-eaten sea-chest marked F. Drake, Plymouth, in with a load of minute-books and annual accounts of the Winchester Round Table; half a dozen incredibly ugly portraits of major Hollywood film stars; Unicorn-Calling, For Pleasure & Profit by J. R. Hartley; a huge collection of betting slips, on races to be held in the year 2019; all water, as far as Paul was concerned, off a duck's {back]”

Tom Holt (1961) British writer

The Portable Door (2003)

Love, Life, Death, Pleasure

“I strive to make my art bear the same relation to painting that polyphony bears to music. Illustrative music is a thing of the past: it has become abstract and purely aesthetic, dependent for its effect upon rhythm and form.”

Stanton Macdonald-Wright (1890–1973) American artist

Quoted in Bryant American Pictures And Their Painters (1917), p. 302

Art, Music, Past, Painting

“Everything moves continuously. Immobility does not exist. Don't be subject to the influence of out-of-date concepts. Forget hours, seconds and minutes. Accept instability. Live in Time. Be static - with movement. For a static of the present movement. Resist the anxious wish to fix the instantaneous, to kill that which is living.
Stop insisting on 'values' which can only break down. Be free, live. Stop painting time. Stop evoking movements and gestures. You are movement and gesture. Stop building cathedrals and pyramids which are doomed to fall into ruin. Live in the present, live once more in Time and by Time - for a wonderful and absolute reality”

Jean Tinguely (1925–1991) Swiss painter and sculptor

Original text in German:
Es bewegt sich alles, Stillstand gibt es nicht. Lasst Euch nicht von überlebten Zeitbegriffen beherrschen. Fort mit den Stunden, Sekunden und Minuten. Hört auf, der Veränderlichkeit zu widerstehen. SEID IN DER ZEIT – SEID STATISCH, SEID STATISCH – MIT DER BEWEGUNG. Fur Statik. Im Jetzt stattfindenden JETZT... Lasst es sein, Kathedralen und Pyramiden zu bauen, die zerbröckeln wie Zuckerwerk. Atmet tief, lebt Jetzt, lebt auf und in der Zeit. Für eine schöne und absolute Wirklichkeit!
In For Statics (original title: Für Statik), 1958 programmatic text for the 'Concert for Seven Pictures' in Düsseldorf: as quoted in: Arts/Canada. Vol. 25. (1968) p. 4.
Quotes, 1950's

Reality, Time, Painting, Forgetting

“To defend painting: One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is pure idiocy.”

Gerhard Richter (1932) German visual artist, born 1932

Source: undated quotes, The Daily Practice of Painting, Writings (1962-1993), p. 78

Passion, Change, Painting

“To show that this end [of art by its dissolution into real life] is only a beginning, it is essential that.... the series of galleries [of the future museum of modern art] be followed by a room in which painting and sculpture will be realized by the interior itself.... demonstrating that what is lost for art is gained for life. This room could therefore be designed for use as a lecture room, a restaurant.... as a bar with an American jazz band.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Mondrian's reaction on a questionnaire (c. 1931?)
Quote of Mondrian, as cited in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 166
1930's

Life, Art, Future, Painting

“I should not base it [ the mural-painting 'Madonna della Vallicella' Rubens painted c. 1607] on the estimate of Rome but leave it to the discretion of His Highness [the Duke of Mantua].... though the figures [but withdraw it for the light in the church was to strong there] are saints, they have no special attributes or insignia that could not be applied to any other saints of similar rank.”

Peter Paul Rubens (1577–1640) Flemish painter

In his letter to Count Annibale Chieppio (minister of the Duke of Mantua), February 2, 1608; as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 131 (LPPR, 42)
w:Simon Schrama quotes this remark as a proof of Rubens as a sales-man who want to sell the altar-piece to the Duke of Mantua, who (as he wrote optimistically to Chieppio), had expressed an interest in having one of his paintings in his gallery. That's why Rubens emphasized the 'rich dress' of the figures
1605 - 1625

Light, Strong, Painting

“Had optical perception not evolved into something more than sensory perception, into super-sensory perception, then the present period would never have had the courage to discover the spiritual in matter. There would have been no fundamental difference between a painting by Picasso [from Picasso's so-called 'abstract' period] and one by Paulus Potter”

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

Dutch painter from the 17th century, famous for his painting of cows
Quote from 'Painting: from composition towards counter-composition'; in 'Painting and plastic art', 'De Stijl' – Theo van Doesburg, series XIII, 1 73-4, 1926, pp. 17–18
1926 – 1931

Courage, Painting

“During the four hundred years of Han supremacy the march of civilization went steadily forward. Paper and ink were invented, and also the camel's-hair brush, both of which gave a great impetus to the arts of writing and painting.”

Herbert Giles (1845–1935) British sinologist and diplomat

The Civilization of China https://www.gutenberg.org/files/2076/2076-h/2076-h.htm (1911), p. 37

Art, Painting

“The Futurists were the first painters, poets, and architects who exalted modern work with their art—
they painted speeding automobiles—
they painted lamps bursting with light—
they painted steaming locomotives and swift bicyclists—
the Futurists stylized their compositions, adopting a violently colored look; with synoptic and geometric shapes they multiplied and decomposed the rhythms of objects and landscapes in order to increase their dynamic qualities and to give an effective rendering of their swift ideas, the states of mind, their conceptions.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290

Art, Color, Idea, Light

“The fair face painted on the dungeon air,
By the strong force of hope, distinct and sweet,
Is a good omen. Love mine, I will rest.
If my last sleep — it will be full of thee.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The London Literary Gazette (28th March 1835)
Translations, From the German

Love, Hope, Sleep, Strong

“In this painting of our life given to us by our memories, everything is moving and depends on our point of view.”

Joseph Joubert (1754–1824) French moralist and essayist

Life, Memory, Painting, Dependency

“As I was painting today, some thoughts came to me and I want to write them down for the people I love. I know that I shall not live very long. But I wonder, is that sad? Is a celebration more beautiful because it lasts longer? And my life is a celebration, a short, intense celebration.”

Paula Modersohn-Becker (1876–1907) German artist

In her Journal-entry, 26 July 1900; as quoted in Tromp M, Ravelli AC, Reitsma JB, Bonsel GJ, Mol BW: Increasing maternal age at first pregnancy planning: health outcomes and associated costs, in: 'J Epidemiol Community Health', Dec. 2010, p. 4
1900 - 1905

Love, Life, People, Sadness

“I've thought upon thy brow when Night
Threw o'er my pallet her summer moonlight,
And I have looked on the midnight sky
To catch the depth and light of thy eye;
I painted from these and from memory,
For I could not paint when I looked on thee.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

28th April 1824) Raphael Showing his Mistress her Portrait By Mr. Brockedon. (British Gallery.
The London Literary Gazette, 1824

Light, Memory, Summer, Painting

“When you paint outdoors, you work from your feet up to above your head. (translation from Dutch: Fons Heijnsbroek, 2018)”

Gerrit Benner (1897–1981) Dutch painter

version in original Dutch (citaat van Gerrit Benner, in het Nederlands:) Als je buiten werkt, dan werk je vanaf je voeten tot boven je hoofd. Quote of Gerrit Benner, c. 1950-1955, in a talk with nl:Willem den Ouden; as cited in the thesis by Leo Delfgauw, University of Groningen, 2017, p 221 https://www.rug.nl/research/portal/files/48348912/Complete_thesis.pdf 1950 - 1980

Painting

“I paint like a barbarian in this barbarous time.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Time, Painting

“The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others. It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art.”

Marita Sturken (1957) American academic

Marita Sturken. " TV as a Creative Medium: Howard Wise and Video Art http://www.vasulka.org/archive/4-30c/AfterImageMay84(1004).pdf," in: Afterimage, May 1984

Art, Support, Painting

“.. that distinguished aesthete [ Gustave Moreau, ] famous artist and art teacher in Paris, then] who paints nothing than rubbish, it is because his dreams are suggested not by the inspiration of Nature, but by what he has seen in the museums... I should like to have that good man under my wing, to point out to him the doctrine of a development of art by contact with Nature. It's so sane, so comforting, the only just conception of art.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 66
Quotes of Paul Cezanne, 1880s - 1890s

Dreams, Art, Nature, Teachers

“Another aspect of the 'readymade' is its lack of uniqueness.... the replica of a 'readymade' delivering the same message; in fact nearly every one of the 'ready-made's existing today is not an original in the conventional sense.
Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are 'ready-made's aided' and also works of assemblage.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

World, Sense, Painting

“I still don’t have any real interest in painting. I haven’t spoken about it either. I paint for my foundation.. to sell my work for charity. I can’t ask anyone to support or praise my paintings. I’m not a beggar. Tomorrow even if I have nothing at all, I’ll do something or the other, but I won’t beg.”

Salman Khan (1965) Indian film actor

Quotes By Salman
Source: http://celebrity.psyphil.com/salman-khan-movies-list-new-films-list-latest-movie-list-filmography/

Support, Painting

“Insulting the Prophet is something that has been going on in Europe for a very long time. In Dante's Inferno, if you're interested in the 28th Canto, where Dante is being taken on his conducted tour of hell and guided by Virgil, he comes across the Prophet Mohammed in the course of his eternal damnation. He is punished I quote Dante's words, as a seminator di scandalo e di scisma, a sower of scandal and of schism. Now, this is very insulting. In the great Cathedral of Bologna there is a wonderful set of pictures painted, if I remember rightly, in the 15th century depicting scenes from Dante's Inferno, including some very graphic pictures of Mohammed being tortured in hell by the devil very graphic.
Nobody did anything about this. A couple of years ago, the leaders of the Italian-Muslim community sent a polite request to the cathedral saying these are insulting to Muslims; would they mind covering those pictures. The cathedral administration said they would consider it. Nothing happened. The pictures are still in view.”

Bernard Lewis (1916–2018) British-American historian

Books, Islam and the West: A Conversation with Bernard Lewis (2006)

Quotes, Communication, Hell, Time

“The compression of the modern picture, its variety, its breaking up of forms... It is certain that the evolution of the means of locomotion and their speed have a great deal to do with the new way of seeing. Many superficial people raise the cry 'anarchy' in front of these pictures because they cannot follow the whole evolution of contemporary life that painting records.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Life, People, Way, Painting

“They [French critics of the Paris Salon of 1824, where his painting 'the Hay Wain' received a gold medal] are very amusing and acute — but very shallow and feeble. Thus one — after saying: "'it is but justice to admire the truth — 'the color' — and 'general vivacity' & richness —" – yet they want the objects more formed and defined &c, and say they are like the rich preludes in musick, and the full harmonious warblings of the Aeolian lyre, which means 'nothing,' and they call them orations — and harangues — and high-flown conversations affecting a careless ease — &c &v &c - Is not some of this 'blame' the highest 'praise' – what is poetry?”

John Constable (1776–1837) English Romantic painter

What is Coleridge's Ancient Mariner (the very best modern poem) but something like this?
Quote from John Constable's letter to Rev. John Fisher, 1824, as quoted in Leslie Parris and Ian Fleming-Williams, Constable, (Tate Gallery Publications, London, 1993), p. 205
1820s

Truth, Justice, Color, Painting

“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

Pleasure, Hope, Art, Music

“I'm sick of Portraits and wish very much to take my viols-da-gamba and walk off to some sweet village, where I can paint landskips [landscapes] and enjoy the fag - end of life in quietness and ease. But these fine ladies [very probably his wife and daughters] and their tea-drinkings, dancings, husband-huntings, &c, &c. &c., will fob me out of the last ten years, and I fear miss getting husbands too. But we can say nothing to these things you know, Jackson, we must jog on and be content with the jingling of the bells, only, d-[damned]-it I hate a dust, the kicking up a dust, and being confined in harness to follow the track whilst others ride in the waggon, under cover, stretching their legs in the straw at ease, and gazing at green trees and blue skies without half my 'Taste'. That's d-d [damned] hard. My comfort is I have five viols-da-gamba: three 'Jayes' and two 'Barak Normans”

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

Adieu. 2 Quotes from Gainsborough's letter to his friend William Jackson of Exeter, from Bath, 4 June 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. 385 (Appendix A - Letter VIII) 1755 - 1769

Life, Hate, Fear, Drink

“These universal means of expression were discovered in modern painting by a logical and gradual progress toward ever more abstract form and color. Once the solution was discovered, there followed the exact representation of relations alone, that is to say, of the essential and fundamental element in any plastic emotion of the beautiful.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Beauty, Color, Universe, Painting

“A little after I started to do sculpture, I painted some of them, and then I destroyed them all. I've begun again several times. In 1951, I painted a whole series of sculptures. But in painting them, you see what the form lacks. And it's useless to paint over something that you don't believe in. I tried again a month ago. In painting them, the deficiencies of form came through.”

Alberto Giacometti (1901–1966) Swiss sculptor and painter (1901-1966)

Alberto Giacometti in: Paul Auster (trans.) " My life is reduced to nothing: David Sylvester talks to Alberto Giacometti about his struggle with proportion and the difficulties of making an eye https://www.theguardian.com/artanddesign/2003/jun/21/art.artsfeatures1," theguardian.com, 21 June 2003.

Time, Painting

“One sunny spring day I heard the music coming down Karl Johan [street] and it filled me with joy. The spring, the sun, the music, all blended together to make me shiver with pleasure. The music added colour to the colours. I painted the picture [his painting 'Music on Karl Johan'] allowing the colours to reverberate with the rhythm of the music. I painted the colours as I saw them at that moment.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote in 'Livsfrisen tilblivelse', Blomqvist, Oslo 1929, p. 12
1896 - 1930

Pleasure, Music, Spring, Sun

“What is seen and called the picture is what remains – an evidence. Even as one travels in painting towards a state of 'unfreedom' where only certain things can happen, unaccountably the unknown and free must appear. Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanished and the paint falls into positions that feel destined. The very matter of painting – its pigment and space – is so resistant to the will, so disinclined to assert its plane and remain still. Painting seems like impossibility, with only a sign now and then of its own light. Which must be because of the narrow passage from a diagramming to that other state – corporeality. In this sense, to paint is a possessing rather than a picturing.”

Phillip Guston (1913–1980) American artist

12 Americans, by Dorothy C.Miller, New York, 1956. p. 36
1950 - 1960

Travel, Feeling, Sense, Light

“I first met Diego [who became later her husband] while he was painting the amphitheater [at the Escuela National Preparatoria, where Rivera was painting the mural 'La Créación', 1922 -1923] and I would really cherish going to see him paint. Orozco [famous Mexican painter] was also painting [murals] in the Prepa, and I remember one time a group of kids wanted to scratch the paintings of Diego and Orozco... Every day we went for ice cream at a stand opposite the law school... Sometimes Diego himself would pass by, and we would tease him. One day they asked me who I wanted to marry, and I said I would not marry, but I did want to have a child by Diego Rivera.”

Frida Kahlo (1907–1954) Mexican painter

27 October 1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My life', p. 71

School, Law, Time, Painting

“We speak of concrete and not abstract painting because nothing is more concrete, more real then a line, a colour, a surface. A woman, a tree, a cow; are these concrete elements in a painting? No. A woman, a tree and a cow are concrete only in nature; in painting they are abstract, illusionistic, vague and speculative. However, a plane is a plane, a line is a line and no more or no less than that. 'Concrete paintin.”

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

Spirit has arrived at the age of maturity...
Quote in 'Comments on the basic of concrete painting', Paris, January 1930, in 'Art Concret', April 1930, pp. 2–4
1926 – 1931

Age, Nature, Tree, Painting

“When we were so friendly with Picasso, there was a time when we had difficulty in recognizing our own pictures. Later, when the revelation went deeper, differences appeared. Revelation is the one thing that cannot be taken from you. But before the revelation took place, there was still a marked intention of carrying painting in a direction that could re-establish the bond between Picasso and ourselves.”

Georges Braque (1882–1963) French painter and sculptor

Braque is referring in this quote to the early common start of Cubism ca. 1907 -1910, in Paris with Picasso
Source: 1946 - 1963, In conversation with Dora Vallier' (1954), p. 265

Appearance, Time, Painting

“Do you know what was great? Finding out that a stupid, ridiculous thing like copying a postcard could lead to a picture. And then the freedom to paint whatever you felt like. Stags, aircraft, kings, secretaries. Not having to invent anything anymore, forgetting everything you meant by painting – color, composition, space – and all of the things you previously knew and thought. Suddenly none of this was a prior necessity for art.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 60-61, note 94

Stupidity, Art, Color, Freedom

“Art was what I originally started out to do and music came second at first. I had a year at art college but I left because it was too much like school. I give all my paintings away to people I like.”

Cat Stevens (1948) British singer-songwriter

Interview for Melody Maker with Chris Charlesworth (July 1970)

People, School, Art, Music

“I have always concentrated on a far narrower field of subject matter than most other painters, so that the danger of repeating myself has been far greater. I think I have avoid this danger by devoting more time and thought to planning each one of my paintings as a variation on one or the other, of these few themes.”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 107

Thinking, Time, Painting

“Outside the big idea that there is art I don't think of other's paintings. But I defend the idea of art and know that it is made up of all these paintings. Classic pictures are objects that may or may not influence what you're doing, just like anything else. Like the radio... But it hasn't anything to do with your own art or the artist's intention.”

Robert Rauschenberg (1925–2008) American artist

1950's, Is today's artist with or against the past, (1958)

Art, Idea, Thinking, Painting

“The culture-its excess-really suited me. I always liked Indian miniature painting much more than Renaissance painting. I didn't see what was so great about Rembrandt or Michelangelo. I liked paintings where there were 10,000 people in the scene and elephants and horses! I liked the carvings on Indian temples so much more than the simple architectural outlines.”

Wendy Doniger (1940) American Indologist

On the cultural aspect of India.
Q&A with Wendy Doniger, the Mircea Eliade Distinguished Service Professor and author of The Hindus

People, Horse, Painting

“The failure of abstract painting is due to the confusion that exists in the understanding of primitive art [as well as that] concerning the nature of abstraction.”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 1. 1943-1945, p. 139

Art, Failure, Understanding, Nature

“It is doubtful whether the artist [unknown] altogether knew what he depicted here in this panel, and even more doubtful whether he could have expressed it in words. That which we praise here as well thought-out and cleverly arranged may, in fact, have been achieved by him unconsciously; for the artist was transformed by pure harmoniousness while executing this picture, and his feeling become his law. Only his disposition, his spiritual exaltation, could have brought forth such a fruit as this picture. Just as the pious man prays without speaking a word and the Almighty hearkens unto him, so the artist with true feeling paints and the sensitive man understands and recognizes it; while even the less sensitive gain some inkling of it.”

Caspar David Friedrich (1774–1840) Swedish painter

cited in: Vaughan, William-Börsch-Supan, Helmut- Neidhardt, Hans Joachim, Caspar David Friedrich. 1774-1840. Romantic Landscape Painting in Dresden, London, The Tate gallery, 1972, p. 104
undated

Law, Feeling, Understanding, Painting

“Raphael paints wisdom, Handel sings it, Phidias carves it, Shakespeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

Society and Solitude, Art
Bartlett's Familiar Quotations, 10th ed. (1919)

Wisdom, Singing, Painting

“Painting is being alive. Through my painting, I beat back this world that stops us living and where we are in constant danger of being destroyed... No, you have to know when to keep silent.”

Bram van Velde (1895–1981) Dutch painter

short quotes, 31 December 1966; pp. 60-61
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

World, Painting

“I paint what I see in America, in other words I paint the American scene.”

Stuart Davis (1892–1964) American painter

Cited in: Ian Chilvers, "Davis, Stuart," in: The Oxford Dictionary of Art, (2994). p. 195

Painting

“But the sound of water escaping from mill-dams, &c., willows, old rotten planks, slimy posts, and brickwork, I love such things. Shakespeare could make everything poetical; he tells us of poor Tom's haunts among "sheep cotes and mills." As long as I do paint, I shall never cease to paint such places. They have always been my delight.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

Love, Water, Painting

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

Chaim Soutine (1893–1943) painter

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

Quotes, Time, Painting

“Picasso loved depicting. He didn't love painting. It's always more like filling in for Picasso. But you can see that Matisse loved the stuff. He loved making it thin, loved moving it around.”

Kenneth Noland (1924–2010) American artist

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

Love, Painting

“Oh, early Kandinsky.. [stuck her early]. Well no, they had that at the Art Institute in Chicago, don't forget. See, everybody, to do 'modern art' then [New York, mid-forties], seemed to me, when you were going 'modern' [both chuckle], it was Picasso. I mean, everybody. But I avoided that like the plague. I thought... I loved Picasso, but it just wasn't for me... Well, I don't! I have some of those [early] paintings from LeLavandou - they're in storage - and from Mexico. They were Expressionist landscapes, or boats on the beach or something like that, which I still do. Sort of going abstract, going towards..”

Joan Mitchell (1925–1992) American painter

first side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Love, Art, Painting, Forgetting

“Every time my nose gushed blood, I felt like a little boy who'd wet his pants. I jumped out of the chair, pressed a handkerchief against my face, and hustled toward the nearest bathroom […] How red the blood looked against the whiteness of the porcelain sink, I thought. How vividly imagined that color was, how aesthetically shocking. The other fluids that came out of us were dull in comparison, the palest of squirts. Whitish spittle, milky semen, yellow pee, green-brown mucus. We excreted autumn and winter colors, but running invisibly through our veins, the very stuff that kept us alive, was the crimson of a mad artist—a red as brilliant as fresh paint.”

Paul Auster book Oracle Night

Paul Auster, Oracle Night, New York: Henry Holt and Company, pp. 41-42.
Oracle Night (2003)

Color, Imagination, Boy, Autumn

“Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord, they were born on the canvas; that is why it is absurd to read any sort of symbolic significance into them.”

Georges Braque (1882–1963) French painter and sculptor

1946 - 1963, interview with John Richardson' (1957)

Bird, Reading, Painting

“My dear Chantrey, - I intended long before this (but you will say, Fudge) to have written: but even now very little information have I to give you in matters of Art, for I have confined myself to the painting department at Corso; and having finished one, am about the second, and getting on with Lord E.'s, which I began the very first touch at Rome; but as the folk here talked that I would show them not, I finished a small three feet four [painting] to stop their gabbling..”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote in Turner's letter from Rome, 6 Nov. 1828, to his friend Francis Chantrey; as cited in The Life of J. M. W. Turner R.A. , Walter Thornbury - A new Edition, Revised https://ia601807.us.archive.org/24/items/gri_33125004491185/gri_33125004491185.pdf; London Chatto & Windus, 1897, p. 10 1821 - 1851

Art, Painting

“Some time ago I saw a painting by Thijs Maris [= Matthijs Maris, one of the three brothers Maris, all three famous Dutch impressionist painters of the Hague School ] that reminded me of it. An old Dutch town with rows of brownish red houses with step-gables and tall flights of steps, grey roofs, and white or yellow doors, window-frames and cornices; canals with ships and a large white drawbridge, a barge with a man at the tiller going under it... Some distance away a stone bridge over the canal, with people and a cart with white horses crossing it. And everywhere movement, a porter with his wheelbarrow, a man leaning against the railing, gazing into the water, women in black with white caps... A greyish white sky over everything…”

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

quote from Vincent's Letter #031 to Theo van Gogh (London, 6 April 1875) http://vangoghletters.org/vg/letters/let031/letter.html 1870s

Women, People, School, Water

“It was very tiny, our house [ St. Prex ], and I had no room for my own, only a window, which I could call mine. But I was so gloomy and unhappy in my soul after all those dreadful experiences, that I was quite content to sit at the window and quietly collect my thoughts and feelings. I had a bit of paint but no easel, so I went into Lausanne – twenty minutes on the train – and bought a small easel from a photographer... It was highly unsuitable for painting but for more than twenty years I have painted my best work on that little easel”

Alexej von Jawlensky (1864–1941) Russian painter

in mainly small sizes
from: 'Lebenserinnerungen', 1938
This small house was in St. Prex, in Switzerland, lake Genova, where Jawlensky concentrated himself on the view around his house in the years after 1914.. ..he painted here more than 400 'Variations on a landscape theme', in St. Prex
Source: 1936 - 1941, Life Memories' (1938), p. 186

Feeling, Soul, Painting, Housing

“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

1950's, Conversations With Artists, 1957

People, Thinking, Painting

“.. when I see people making quote 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough, that is to say, there is you painting and this canvas. I think there has to be a third thing, it has to be a trialogue. Whether that third thing - it must be, to reverberate and make trouble, you have to have trouble and contradictions, it has to become complex because life is complex, emotions are complex, - whether that third element is a still life of something, or an idea or a concept, in each case it has to be a trialogue and above all has to involve you.... The real thing that matters is how involved you are in that.”

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

Life, People, Quotes, Idea

“But if politics is an art, it is not like sculpture or painting, where one side acts and the other is passive material. It is more like drama without a script, or dance without choreography - in other words, improvisation. Either player may surprise us again with a new move.”

Thomas Flanagan (political scientist) (1944) author, academic, and political activist

Source: Game Theory and Canadian Politics (1998), Chapter 3, Stalemate At Lubicon Lake, p. 54.

Art, Dance, Painting

“A work of art must narrate something that does not appear within its outline. The objects and figures represented in it must likewise poetically tell you of something that is far away from them and also of what their shapes materially hide from us. A certain dog painted by Courbet (French 19th century painter) is like the story of a poetic and romantic hunt.”

Giorgio de Chirico (1888–1978) Italian artist

1919
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 440
1908 - 1920, On Mystery and Creation, Paris 1913

Dogs, Art, Appearance, Painting

“Ever, as before, does Madness remain a mysterious-terrific, altogether infernal boiling-up of the Nether Chaotic Deep, through this fair-painted Vision of Creation, which swims thereon, which we name the Real.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

Bk. III, ch. 8.
1830s, Sartor Resartus (1833–1834)

Painting, Madness

“Someday I must be able to paint truly remarkable colors. Yesterday I held in my lap a wide, silver-gray satin ribbon which I edged with two narrower black, patterned silk ribbons. And I placed on top of these a plump, bottle-green velvet bow. I'd like to be able to paint something one day in those colors.”

Paula Modersohn-Becker (1876–1907) German artist

‎note in her Journal, 3 June, 1902; as quoted in Paula Modersohn-Becker, the Letters and Journals, ed. Günter Busch and ‎Liselotte von Reinken (1998), p. 278
1900 - 1905
Variant: Someday I must be able to paint truly remarkable colors. Yesterday I held in my lap a wide, silver-gray satin ribbon which I edged with two narrower black, patterned silk ribbons. And I placed on top of these a plump, bottle-green velvet bow. I'd like to be able to paint something one day in those colors.

Color, Painting

“A painting is good if it is not finished. Just like ideas. Finished ideas are dead… Everything is floating, just as in life – also life will never get ready.”

Gerrit Benner (1897–1981) Dutch painter

translation from Dutch: Fons Heijnsbroek, 2018, version in original Dutch (citaat van Gerrit Benner, in het Nederlands:) Een schilderij is goed als het niet af is. Net als bij ideeën. Ideeën die af zijn, zijn dood.. .Alles vloeit, net als in het leven – dat komt ook nooit klaar. Quote of Gerrit Benner, in: Gerrit Benner, G. Westenberg en E. van Dooren , Harlingen 2005, p. 4; as cited in Lucht in de Nederlandse kunst sinds 1850 https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/Catalogus_Lucht.pdf, Antoon Erftemeijer; catalogue of Frans Halsmuseum Haarlem, 2014, p 45 undated quotes

Life, Idea, Painting, Dead

“[ Monet is].. hard at work for some time now. His paintings has really progressed, I'm sure it will attract a lot of attention. He has sold thousands of franc's worth of paintings in the last few days, and has one or two other small commissions. He's definitely on his way.”

Frédéric Bazille (1841–1870) French painter

Quote of Bazille in a letter to his brother, December 1865; as cited in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 43
1861 - 1865

Way, Time, Painting

“It paints a portrait of a man attempting to cope with being a human.”

Frances Bean Cobain (1992) American artist

" Frances Bean Cobain on Life After Kurt's Death: An Exclusive Q&A http://www.rollingstone.com/music/features/frances-bean-life-after-kurt-cobain-death-exclusive-interview-20150408" (2015)

Painting

“Most motor-cars are conglomerations (this is a long word for bundles) of steel and wire and rubber and plastic, and electricity and oil and petrol and water, and the toffee papers you pushed down the crack in the back seat last Sunday. Smoke comes out of the back of them and horn-squawks out of the front, and they have white lights like big eyes in front, and red lights behind. And that is about that — just motor-cars, tin boxes on wheels for running about in.
But some motorcars — mine, for instance, and perhaps yours — are different. If you get to like them and understand them, if you are kind to them and don't scratch their paint and bang their doors, if you fill them up and pump them up when they need it, of you keep them clean and polish and out the rain and snow as much as possible, you will find, you MAY find, that they become almost like persons — MORE than just ordinary persons — MAGICAL PERSONS!!!”

Ian Fleming book Chitty-Chitty-Bang-Bang

Source: Chitty-Chitty-Bang-Bang (1964), Ch. 1

Cars, Understanding, Light, Water

“Our sketchbooks and studies – as well as the paintings and photos, convey the detail of our [Gabriele with Kandinsky, 1905] Tunisian impressions. At times we got along well – at times not at all – we took walks in the city and also in the Belvedere park – it was never boring with my beloved [ Kandinsky ], but we didn't made contact with any other people; he never wanted it.”

Gabriele Münter (1877–1962) German painter

Quote of Gabriele Münter in her 'Memoir entries' for 1905; as cited by Roger Benjamin, Cristina Ashjian, in Kandinsky and Klee in Tunisia; Univ. of California Press, 18 Aug 2015

People, Photo, Study, Time

“.. the owner [of the painting 'When one grows old', 1883].... had to hear a lot of comments about it, they called it the apotheosis of a cape, the figure much too big for the frame, etc. etc. [deleted by Israëls:] so they advised him to exchange it for one of my other works.”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in Dutch (citaat van Jozef Israëls, in het Nederlands): ..de eigenaar [van het schilderij 'Als men oud wordt', 1883].. ..moest er veel over hooren, men noemde het de apotheose van een schoudermantel, de figuur veel te groot voor het kader, enz. enz. [doorgestreept door Israëls:] zoodat men hem aanried het liever tegen wat anders bij mij te ruilen.
Quote of Israëls in his manuscript he wrote in 1904 for Jan Veth; HGA (Haagsch Gemeente Archief), input No. OV2, (painter-letters)
Quotes of Jozef Israels, after 1900

Painting

“Hugo [Claus], Now you should see my recent works. A drawing in ink, three pencil drawings and two sketches in oil-paint: a still-life and a landscape in the strongest colors you can imagine. I still have to work on the landscape, but I really think it will be the best of my paintings till now.... but the happiest thing is, I have acquired much more freedom.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Hugo [Claus], nu zoudt U eens moeten mijn laatste werk zien, een pentekening, drie potloodtekeningen en twee studies met olieverf: een stilleven en een landschap in de hevigste kleuren die Ge U kunt indenken. Aan dat landschap moet ik nog werken maar ik denk dat het mijn beste werk zal zijn, van mijn schilderwerk, en drie tekeningen vind ik mijn beste maar het gelukkigste is dat ik een veel grotere vrijheid heb verworven.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, 20-24 March 1948; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 50 (translation: Fons Heijnsbroek)
1945 - 1960

Life, Color, Imagination, Thinking

“T. V. has made going to the theatre seem pointless, photography has pretty much killed painting but graffiti has remained gloriously unspoilt by progress.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Wall and Piece (2005)

Painting

“Perhaps the people I choose to paint are often objects of derision celebrity is a bit of a put-down term, isn't it? But to me they are my world.”

Stella Vine (1969) English artist

Eyre, Hermione. "Completing my new show was the only thing that saved me from suicide" http://www.independent.co.uk/news/people/profiles/stella-vine-completing-my-new-show-was-the-only-thing-that-saved-me-from-suicide-457090.html, The Independent, (2007-07-15) On the celebrities she paints.

People, World, Painting

“.. crushed by the strength of this Art [the old Egyptian art]... I fought against it but it conquered, it is surely the greatest Art the past has left us.... how are my feeble hands to ever paint the effect on me.”

Mary Cassatt (1844–1926) American painter and printmaker

Quote of Cassatt, after her trip to Egypt, 1910; as cited by Nancy Mowll Mathews, in Mary Cassatt: A Life, Yale University Press, New Haven, 1998, p. 291 - ISBN 978-0-585-36794-1

Art, Past, Painting

“I see possibilities for a whole new way of painting, in which planes are used more freely. Weaving and embroidery make this possible.”

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

variant of Stedelijk Museum Amsterdam in 'Family – Ernst Ludwig Kirchner' https://www.stedelijk.nl/en/collection/8144-ernst-ludwig-kirchner-familie 1920's

Way, Painting

“How do you see this tree? Is it really green? Use green, then, the most beautiful green on your palette. And that shadow, rather blue? Don't be afraid to paint it as blue as possible.”

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

Comment voyez-vous cet arbre? Il est bien vert? Mettez donc du vert, le plus beau vert de votre palette; — et cette ombre, plutôt bleue? Ne craignez pas la peindre aussi bleue que possible.
Quote from a conversation in 1888, Pont-Aven, with Paul Sérusier as cited by w:Maurice Denis, inL'influence de Paul Gauguin, in Occident (October 1903) and published in Du symbolisme au classicisme. Théories (1912), ed. Olivier Revault d'Allonnes (Paris, 1964), p. 51.
1870s - 1880s

Beauty, Tree, Painting

“Be modern
collectors, museums
if you have old paintings
do not despair
Retain your memories
but detourn them
so that they correspond with your era.
Why reject the old
if one can modernize it
with a few strokes of the brush.
This casts a bit of contemporaneity
on your old culture.
Be up to date
and distinguished
at the same time.
Painting is over
You might as well finish it off
Detourn (détournez)
Long live painting.”

Asger Jorn (1914–1973) Danish artist

On his Détournements, modifications of old, existing paintings, in the foreword to the catalogue of his exhibition Modifications (1959)
1959 - 1973, Various sources

Memory, Time, Painting, Despair

Quotes about paint page 13

Quotes about paint
page 13