Quotes about paint
page 15

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

Donald Judd (1928–1994) artist

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

School, Art, Light, Time

“As for a few others, the vital task was a wedding of abstraction and surrealism. Out of these opposites something new could emerge, and Gorky’s work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art... These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think Gorky evolved his style.”

Adolph Gottlieb (1903–1974) American artist

Arshile Gorky Adolph Gottlieb in exhibition catalogue Kootz Gallery New York, 1950; as quoted in Abstract Painting in America, W.C, Seitz p. 104.
1950s

Happiness, Sadness, Art, Thinking

“The Croatian parliament elected me to be the Croatian member of the Presidency of Yugoslavia. I went to Belgrade, where first, for several months, I was not allowed to take up my duties because the Federal Assembly was unable to meet. After that, the Serbian bloc boycotted my election as president under… Finally, under pressure from the international community, I was elected president. Croatia adopted a decision on its independence. Croatia, in agreement with the international community, postponed its secession from Yugoslavia by three months. This time period had elapsed. Yugoslavia no longer existed. The federal institutions were no longer functioning. I returned to Zagreb, and that's precisely what I said. Because I [had not gone] to Belgrade to open up a house-painting business. I went there as a member of the Presidency of Yugoslavia. Since Yugoslavia no longer existed and the Presidency no longer existed, I had performed the tasks entrusted to me by the Croatian parliament and was reporting back, ready to take up a different office. What was I to do in Belgrade when the Presidency no longer existed?… The accused is a lawyer. He understands very well what I'm talking about. My 'task' was to represent Croatia in the Federal Presidency.”

Stjepan Mesić (1934) Former Croatian and Yugoslav president

ICTY Transcript, Page 10636 - Mesić's cross-examination by Slobodan Milošević at the ICTY on 2 October 2002, 8 April 2012 http://www.icty.org/x/cases/slobodan_milosevic/trans/en/021002IT.htm, Responding to an earlier quote in which he stated My task has come to an end. There is no more Yugoslavia. ("Moj posao je završen - Jugoslavije više nema") 5 December 1991 in the Croatian parliament having left the presidency of the Yugoslav presidency.

Communication, Understanding, Business, Decision

“Through painting I try to get closer to nothingness, to the void.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Painting

“[I] preferred paintings full of daring to the nullities welcomed into every Salon.”

Charles-François Daubigny (1817–1878) French painter

Quote c. 1865; as cited in Corot', Gary Tinterow, Michael Pantazzi, Vincent Pomarède - Galeries nationales du Grand Palais (France), National Gallery of Canada, Metropolitan Museum of Art (New York, N.Y.), 1996, p. 272 – quote 65
Daubigny's work was frequently refused by the jury of the Salon; after c. 1865 he participated in the jury himself, often together with Corot.
1860s - 1870s

Painting

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

Kenneth Noland (1924–2010) American artist

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

Mountain, Question, Painting

“It was the eyes that did it. [timid giggle] I liked the way he painted eyes and he liked mine.”

Margaret Keane (1927) American artist

Stated at a time when Margaret Keane was still going along with the fraud that her husband was the painter of the Big Eyed waifs. Cited by Jane Howard, " The Man Who Paints Those Big Eyes: The Phenomenal Success of Walter Keane https://books.google.com/books?id=WFMEAAAAMBAJ&pg=PA39," LIFE 59, no. 9 (27 August 1965), p. 45. 1965, Cited by Jane Howard

Way, Painting

“I had the company of monsieur Gibert. Such people see clearly, but they have the teacher's eye. As the train was taking us past Alexis' place a staggering subject for a picture came into view towards the east: St-Victoire [later Cezanne made series of paintings of Mont St. Victoire and the crags above Beaurecueil]. I said, 'What a splendid subject'; he replied, 'The lines are too symmetrical'. Referring to 'L'Assommoir' [a novel of Emile Zola ] about which, incidentally, he was the first person to speak to me, he said some very sound things, and praised it, but always from the point of view of technique.”

Paul Cézanne (1839–1906) French painter

Quote in Cézanne's letter to his friend Emile Zola, Aix-en-Provence, 14 April 1878; as quoted in Letters of the great artists – from Blake to Pollock"', Richard Friedenthal, Thames and Hudson, London, 1963, pp. 178-179
Quotes of Paul Cezanne, 1860s - 1870s

People, Teachers, Past, Painting

“For a man who is sensitive to nature, happiness consists in expressing nature. How infinitely happy, then, is the man who reflects nature like a mirror without being aware of it, who does the thing for love of it and not from any pretensions to take first place. This noble unself-consciousness is what we find in all truly great men, in the founders of the arts. I picture the great Poussin, in his retreat, delighting in the study of the human heart.... I picture Raphael in the arms of his mistress, turning from La Fornarina to paint his Saint Cecilia.... I am only too well aware that I am far not only from their divine spirit, but even from their modest simplicity…”

Eugène Delacroix (1798–1863) French painter

Quote in a letter to Delacroix' friend J. B. Pierret, 23 October 1818, from the Forest of Boixe; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and transl. Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 43
1815 - 1830

Love, Men, Happiness, Art

“It's only my town (Chagall was born in Vitebsk), mine, which I have rediscovered. I come back to it with emotion. It was at that time that I painted my Vitebsk series of 1914. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914) I painted everything that met my eyes. I painted at my window; I never walked down the street without my box of paint.”

Marc Chagall (1887–1985) French artist and painter

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 31
1920's, My life (1922)

War, World, Time, Painting

“One of the pleasant things those of us who write or paint do is to have the daily miracle. It does come.”

Gertrude Stein book Paris France

Paris France (1940)

Painting

“Tell [Père] Tanguy to send me some paints. What I need most are ten tubes of white, two of chrome yellow, one bright red, one brown lac, one ultramarine, five Veronese green, one cobalt j I have on hand only one tube of white … I expect to begin to paint again from nature, and I need the colors.”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, in a letter, Eragny, 25 February 1887, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 100
1880's

Color, Nature, Painting

“Paint upon a palette, delighting our eyes with soul-satisfying pictures, a treasure of well set jewels a sympathy with growing things, fashioned into a dream of beauty, a place of perfect rest and refreshment of mind and body. This sense of beauty is a gift of God.”

Gertrude Jekyll (1843–1932) garden designer, artist

Colour in the Garden

God, Beauty, Dreams, Soul

“The author [Goya] is convinced that it is as proper for painting to criticize human error and vice as for poetry and prose to do so, although criticism is usually taken to be exclusively the business of literature.”

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

1790s, Goya's announcement about 'Los Caprichos', 6 Febr. 1799

Error, Literature, Business, Painting

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

Anu Garg (1967) Indian author

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

Color, Help, Painting

“It was difficult to believe these things had taken place such a very long time ago. The events seemed distant, as though he had only read about them and not experienced them at all. He knew that at this point his death was far closer, far more tangible. That was something he could almost touch. One could feel one’s mortal form progressing slowly to ruin, like that old abbey—the signs were undeniable. Things went wrong inside a man and did not come right again. That was the truth that hung over one’s head like a blade. Injuries and illnesses were no longer easily repaired. And as with some part of a painting that he could never get right, the great danger was to see nothing but what was wrong. The trap of age.”

Sean Russell (1952) author

Source: Sea Without a Shore (1996), Chapter 7 (p. 89)

Death, Truth, Age, Feeling

“Tactile space separates us from objects, as opposed to visual space, which separates objects from one another. I have spent my life trying to paint the former kind.”

Georges Braque (1882–1963) French painter and sculptor

Quote of Braque to John Richardson, in 'Braque Discusses His Art', in 'Realités', no. 93, August 1958, p. 28
1946 - 1963

Life, Painting

“The science [of painting], although it is not absolutely necessary, never hurts. It obviates much experimentation by trial and error, but one must, above all, not confuse it with skill. The first can be taught; the second [= skill] must not be, and must even be combatted... What will necessarily happen to manual skill is.. if one neglects it, it becomes all the more clumsy and personal.”

Paul Sérusier (1864–1927) French painter

from: 'A letter to Maurice Denis

Error, Science, Hurt, Painting

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

Wynford Dewhurst (1864–1941) British artist

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

Art, Nature, Painting

“The art of painting is only the art of expressing the invisible by the visible. Whether its roads be great or small, they are sown with problems which it is permitted to sound for one's self as truth, but which it is well to leave in their darkness as mysteries.”

Eugène Fromentin (1820–1876) French painter

Quote from The Old Masters of Belgium and Holland - Les Maitres d’Autrefois, 'Preface', Eugène Fromentin; ed. Mary Caroline Robbins, publisher: J. R. Osgood and company, Boston 1882, p. iv

Truth, Art, Problem, Painting

“Because that's still how Irish people are seen, as twinkly-eyed fuckers with a pig under their arm, high-stepping it around the world, going 'I'll paint your house now, but watch out, I might steal the ladder later, ohohoho!”

Dylan Moran (1971) Irish actor and comedian

Which is only half true!
On prejudices about Irish people.
Like, Totally (2006)

People, World, Painting, Housing

“Delacroix spoke of the Greek coin being built from the center out. Vermeer has painted in this way, according to the principles of mass... How beautifully they are drawn – Vermeer does not just make a leaf and place it in the design, he relates space and leaf. [in the painting of Vermeer: 'Allegory on the New Testament']. That drapery – it is abstract – observe how this shape [a space between a shepherd and the tree] curves around the center space while the tree counter-curves opposite it, cutting an egg shape.... the spaces on the carpet that carry no figuration are, in fact, shapes of vital importance in building the whole..”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), p. 357: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher, 1947

Way, Tree, Painting

“Short quote of Newman about his first 'Zip' paintings, c. 1946-1948”

Barnett Newman (1905–1970) American artist

1940 - 1950

Quotes, Painting

“The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones.”

Donald Judd (1928–1994) artist

Donald Judd (1963), quoted in: Joseph Kosuth, (1969), " Art after Philosophy http://www.ubu.com/papers/kosuth_philosophy.html" 1960s

Art, Painting

“The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative... In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'....'For an impressionist, to paint after nature is not to paint the object, but to express sensations'....'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 11
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Art, Idea, Nature, Painting

“Why do you paint?
For exactly the same reason I breathe.
That’s not an answer.
There isn’t any answer.
How long hasn’t there been any answer?
As long as I can remember.
And how long have you written?
As long as I can remember.
I mean poetry.
So do I.”

E.E. Cummings (1894–1962) American poet

"Forward to an Exhibit: II" (1945)

Painting

“As a teacher I approach my students purely with the human desire to free them from all scholarly inhibitions, and I tell them, 'Painters must speak through paint — not through words.”

Hans Hofmann (1880–1966) American artist

As quoted in It ls., No. 3 (Winter-Spring 1959)
1950s

Teachers, Painting

“Prayer helped me with the loss of my wife to cancer and with a child who had fallen on tough times. Now prayer helps me to be a father, to be an actor and to be a man, it always helps to have a bit of prayer in your back pocket. At the end of the day, you have to have something and for me that is God, Jesus, my Catholic upbringing, my faith. In a way (my life) all leads back to a little boy in Navan, my home town on the banks of the Boyne. Sometimes, it has been painted in melodramatic tones but it was a fantastic way to be brought up. The Catholicism and the Christian brothers, those are deep-rooted images and the foundation for a person of some acting skill, God has been good to me. My faith has been good to me in the moments of deepest suffering, doubt and fear. It is a constant, the language of prayer… I might not have got my sums right from the Christian Brothers or might not have got the greatest learning of literature from them but I certainly got a strapping amount of faith. But there is one thing that the people of Ireland know how to do and that is to survive. You have to keep your faith and stay optimistic.”

Pierce Brosnan (1953) Irish-American actor, film producer, and environmentalist

Pierce Brosnan talks about his deep Catholic faith http://www.irishcentral.com/culture/entertainment/pierce-brosnan-talks-about-his-deep-catholic-faith-118983269-237736371 (March 31, 2011)

Life, God, People, Fear

“If I were an academician.... or a believer in a higher reality outside me, as most people are (lucky creatures!), I would have no need for any justification for painting landscapes, or portraits, or social realism. I would rely on my so-called common sense, on which I see and feel, and I would enjoy it. Or I would fix one point in the distant haze of that unknown reality, would try to approach it as nearly as I could, and would find solace in the fanatical belief that I am the only one who is portraying that reality which is the only truth.”

Naum Gabo (1890–1977) Russian sculptor

Quote of Naum Gabo (1950), cited in: Eidos: a journal of painting, sculpture and design. Nr.1, p. 32 cited in: Herbert E. Read, Sir Herbert Edward Read (1971) The philosophy of modern art: collected essays. p. 94
1936 - 1977

People, Truth, Feeling, Reality

“People think that painting is about color
It's mostly composition
It's composition that's the whole thing
The classic image-
Two late Tang dishes, one with a flower image,
one empty – the empty form goes all the way to heaven
It is the classic form – lighter weight.”

Agnes Martin (1912–2004) American artist

1970's, The Untroubled Mind', 1971

People, Color, Way, Flowers

“"A curse," said Lee. "Been in our family for generations. The Lees have always been perverts. I shall never forget the unspeakable horror that froze the lymph in my glands when the baneful word seared my reeling brain: 'homosexual'. I was a homosexual. I thought of the painted simpering female impersonators I'd seen in a Baltimore nightclub. Could it be possible I was one of those subhuman things? I walked the streets in a daze like a man with a light concussion- just a minute, Doctore Kildare, this isn't your script. I might as well have destroyed myself, ending an existence which seemed to offer nothing but grotesque misery and humiliation. Nobler, I thought to die a man than life on, a sex monster. It was a wise old queen - Bob, we called her- who taught me that I had a duty to live and to bear my burden proudly for all to see, to conquer prejudice and ignorance and hate with knowledge and sincerity and love. Whenever you are threatened by a hostile presence, you emit a thick cloud of love like an octopus squirts out ink."”

William S. Burroughs (1914–1997) American novelist, short story writer, essayist, painter, and spoken word performer

Source: Queer: A Novel (1985), Chapter Three

Love, Life, Hate, Hostility

“Since 1929 I have suffered from an extremely painful disease [arthritis deformans] which gets worse every year. Little by little my arms and hands have become stiff and bent and I have terrible pain. This stiffness in my elbows and wrists has tremendously hindered my painting and I have had to find a new technique. My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual..”

Alexej von Jawlensky (1864–1941) Russian painter

from: 'Lebenserinnerungen', 1938
Source: 1936 - 1941, Life Memories' (1938), p. 23

Pain, Disease, Art, Suffering

“The only control that I excercize [in painting] is to not throw too much paint next to the canvas.”

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

MR1, 177; p. 215
Karel Appel, a gesture of colour' (1992/2009)

Painting

“How we come to have the world-views we do is an interesting question. No doubt reason plays a part, but human needs for meaning and purpose are usually more important. At times personal taste may be what decides the issue. There is nothing to say that, when all the work of reason is done, only one view of the world will remain. There may be many that fit everything that can be known. In that case you might as well choose the view of the world you find most interesting or beautiful. Adopting a world-view is more like selecting a painting to furnish a room than testing a scientific theory. The test is how it fits with your life.”

John Gray (1948) British philosopher

Freedom for Über-Marionettes: What Science Won't Tell You (p. 150)
The Soul of the Marionette: A Short Enquiry into Human Freedom (2015)

Life, World, Beauty, Question

“I have a studio in the country - in the woods – but my paintings look more real to me than what is outdoors. You walk outside; the rocks are inert, even the clouds are inert. It makes me feel a little better. But I do have a faith that it is possible if you can move that inch.”

Phillip Guston (1913–1980) American artist

1961 - 1980, ARTnews Annual', October 1966

Faith, Feeling, Painting, Country

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

Women, Men, People, Books

“All this could be enough -- we would leave an Impressionist painting at this stage -- probably much earlier -- and leave it possibly with great satisfaction.”

Peter Greenaway (1942) British film director

Fear of Drowning By Numbers

Painting

“the idea of movement…. just transferred from the Nude [ Nude Descending a Staircase, No. 2 - Duchamp painted this in 1912] into a bicycle wheel [ Bicycle wheel, his early ready-made from 1916-17].”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 41
Duchamp is looking back shortly before his death in 1968
1951 - 1968

Idea, Painting

“One could go on forever as to whether the paint should be thick or thin, whether to paint the woman or the square, hard-edge or soft, but after a while such questions become a bore. They are merely problems in aesthetics, having only to do with the outer man. But the painting I have in mind, painting in which inner and outer are inseparable, transcends technique, transcends subjects and moves into the realm of the inevitable.”

Lee Krasner (1908–1984) American artist

Source: Barbara Rose, ‎Lee Krasner, ‎Museum of Fine Arts, Houston (1983) Lee Krasner: a retrospective. p. 134.

Question, Problem, Painting

“I might get an idea [for the start of a painting] sitting looking at the river, or something, or a specific.... Yeess. I'm sure, yes, I'm sure it [the environment] influences me in terms of green and gray and color and... I mean, New York light is so different, and it always hits me when I come here [in New York], and it excites me to see great extremes of dark and light and no nuance - which I love. But there the Isle de France [round about Paris] has that, you know, filtered light that is that.. where even on a gray day, the green is very green, and the red is very red.... I think walking out barefoot and moving the paintings, being able to move them out of my studio [in Vetheuil] for transportation, things like that have had [influence]... As well as the landscape. Lake Michigan was pretty important, you know.”

Joan Mitchell (1925–1992) American painter

Tape number two, side A
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Love, Color, Idea, Thinking

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

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

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

Love, Life, Children, Books

“I have painted like an ape. The ape phase is in all my work. My first lick of paint is the ape phase, from that I grow towards a more intellectual phase, involving the lines, the rhythm. From that phase I grow towards mankind, for that is where the power of my imagination lies. It no longer has anything to do with reality, even though the world is present in it - for we recognize people, animals, plants, you name it.”

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

quote of Karel Appel: from the conversation with Rudy Fuchs in 1990; as quoted in 'The Low Countries', Jaargang 12(2004) on DBNL (Dutch Librairy online) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

People, World, Imagination, Reality

“Starry starry night,
Paint your palette blue and grey
Look out on a summer's day with eyes that know the darkness in my soul…”

Don McLean (1945) American Singer and songwriter

Song lyrics, American Pie (1971), Vincent

Soul, Summer, Painting, Night

“Father was a beautiful person, Otherwise I couldn't have paint him like that [Jopie points to the portrait of his father in the living-room, hanging next to his mother's]. Painted in seven hours. On a Saturday. About three months before my mother had died. Three times [during the painting-session] he stood up: 'Are you getting ready, finally?' The way I am talking about them is just how you see them here. He was a skipper of mud, afterwards a farmer.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Vader was ook een juweel van een mannetje. Anders kun je 'm toch ook niet zo schilderen. [Jopie wijst naar het portret van zijn vader dat in de huiskamer hangt, naast dat van zijn moeder] In zeven uren gemaakt. Op een zaterdag. Toen was m'n moeder een maand of drie dood. Drie keer is ie overeind geweest: 'Ben je al 'ns een keer klaar?' Zoals ik over ze praat, zo zie je ze daar hangen. Het was een modderschippertje, later boer.
Mens & Gevoelens: Jopie Huisman', 1993

Beauty, Way, Time, Painting

“.. he [= Michelangelo] was a good man, but he did not know how to paint.”

El Greco (1541–1614) Greek painter, sculptor and architect

Marina Lambraki-Plaka, El Greco - The Greek, p. 47–49; as cited on Wikipedia/El Greco
Quote of El Greco's response, when he was later asked what he thought about the Italian artist Michelangelo

Painting

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

Stuart Davis (1892–1964) American painter

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

Law, Art, Color, Way

“I thought that the painter had no right to paint so unclearly....(but) the first faint doubt as to the importance of an 'object' as the necessary element in painting.”

Wassily Kandinsky (1866–1944) Russian painter

Kandinsky is remembering his experience that he saw one of the 'Haystack' paintings of Monet, for the first time in his life, in Moscow (1895)
Source: 1916 -1920, Autobiography', 1918, p. 10

Painting

“Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy... On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread.”

Marc Chagall (1887–1985) French artist and painter

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 29-30
Chagall describes a morning in his studio in Paris, c. 1911, in 'La Ruche' an old factory where many artists as Soutine, Archipenko, Léger and Modigliani had their studio
1920's, My life (1922)

God, Lie, Way, Painting

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

Jacoba van Heemskerck (1876–1923) Dutch painter

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

Art, Way, Painting

“You can't make a perfect painting. We can see perfection in our minds. But we can't make a perfect painting.”

Agnes Martin (1912–2004) American artist

interview with Joan Simon, 1995 in Perfection is in the Mind, p. 86; as quoted in A House Divided: American Art Since 1955, Anne M. G. Wagner, Univ. of California Press, 2012, p. 263
1980 - 2000

Painting, Perfection

“And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..”

Joan Mitchell (1925–1992) American painter

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

Women, Books, School, Beauty

“The first-century church in Jerusalem clearly had it. And they didn't have any fancy accoutrements. So it can't possibly be stained-glass windows, hand-carved cherubs, custom silk tapestries, gold-inlaid hymnals, thousand-pipe organs, marble floors, mile-high steeples, hand-painted ceilings, mahogany pews, giant cast-iron bells, and a three-piece, thousand dollar suit. It doesn't stick any better to a young, hip, shaved-headed pastor with rimmed glasses, a goatee, and tattoos than it does to an older, stately gentleman in a robe. Nor is it spotlights and lasers, video production, satellite dishes, fog machines, shiny gauze backdrops, four-color glossy brochures, sexy billboards, loud "contemporary" music, free donuts, coffee shops, hip bookstores, break dancing or acrobatics, sermon series named after television shows, a retro-modern matching chair and table onstage, or blue jeans and Heelys. It is not being on television, being on the Internet, or being on book and magazine covers. It is real. It is genuine.”

Craig Groeschel (1967) American priest

It – How Churches and Leaders Can Get It and Keep It (2008, Zondervan)

Books, Music, Color, Coffee

“None of you knows what creativity means. To paint a picture, to write a poem? No! To recast one’s whole age, to impose upon it the stamp of one’s will, to fill it with beauty, to overwhelm it, to overpower it with one’s spirit.”

Christian Morgenstern (1871–1914) German author

cited in Zarathustra’s Children (2000), p. 178

Age, Beauty, Painting

“What we commonly call sensibility, depends, in a great measure, on the power of imagination. Point out two men, any object of compassion; --a man, for example, reduced by misfortune from easy circumstances to indigence. The one feels merely in proportion to what he perceives by his senses. The other follows, in imagination, the unfortunate man to his dwelling, and partakes with him and his family in their domestic distresses…. As he proceeds in the painting, his sensibility increases, and he weeps, not for what he sees, but for what he imagines. It will be said, that it was his sensibility which originally aroused his imagination; and the observation is undoubtedly true; but it is equally evident, on the other hand, that the warmth of his imagination increases and prolongs his sensibility.”

Dugald Stewart (1753–1828) Scottish philosopher and mathematician

Source: Elements of the Philosophy of the Human Mind, 1792, p. 247

Men, Family, Feeling, Imagination

“My canvas soothes me into forgetfulness of the scene of turmoil and folly — and worse — of the scene around me. Every gleam of sunshine is blighted to me in the art at least. Can it therefore be wondered at that I paint continual storms? "Tempest o'er tempest roll'd"”

John Constable (1776–1837) English Romantic painter

still the "darkness" is majestic.
Letter to C.R. Leslie (1834), John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), vol. 3, p. 122; also quoted in Hugh Honour, Romanticism (Westview Press, 1979, ISBN 0-064-30089-7, ch. 3, p. 91
1830s

Art, Painting, Forgetting

“It seems to me that today the Surrealist crisis is the central problem in French art. It is essential for future development that this crisis should be solved… The principal error in the aesthetic program of Surrealism is that it is too literary. Painters have experimented with visions, images, dreams, but not with painting, not with color... The unpainterliness of Surrealism has inevitably produced a reaction among younger painters. [Jorn is thinking here of French painters such as Bazaine, Esteve, Lapique, Singier, Le Moal, and he suggests there should be reciprocity]... These artists cannot get any further unless they absorb the lessons of Surrealism into their painting, just as Surrealists can only advance if they adopt the painterly methods of the other group.”

Asger Jorn (1914–1973) Danish artist

Quote in a writing of Jorn on modern art in Paris, 1947; as cited on the website of the Jorn Museum. 'Articles' by Jorn http://www.museumjorn.dk/en/article_presentation.asp?AjrDcmntId=255, 1940 - 1948, Various sources

Dreams, Art, Color, Error

“Everything is love. "HEAVEN ON EARTH" our idea of heaven has been formed by painting and nothing else. I love pure, bright colours, their intellectual clarity of expression conveying nothing but feeling. Painting - the inspired animation of the surface.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

Love, Feeling, Idea, Animals

“I wrote the first 5,000 words of William the Antichrist. It had a demon named Crawleigh. He drove a Citroen 2CV, and was ineffectual. Proper demons like Hastur and Ligur loathed him. It had a baby swap. I sent it to a few friends for feedback. Then my graphic novel Sandman happened, and it was almost a year later that the phone rang.
"It's Terry," said Terry. "'Ere. That thing you sent me. Are you doing anything with it?"
"Not really."
"Well, I think I know what happens next. Do you want to sell it to me? Or write it together?"
"Write it together," I said, because I was not stupid, and because that was the nearest I was ever going to get to Michaelangelo phoning to ask if I wanted to paint a ceiling with him.”

Neil Gaiman (1960) English fantasy writer

Good Omens: How Neil Gaiman and Terry Pratchett wrote a book (2014)

Stupidity, Thinking, Baby, Painting

“But of course these pictures are not shocking; good painting never is.”

Patrick Swift (1927–1983) British artist

Some Notes on Caravaggio (1956)

Painting

“No daintie flowre or herbe that growes on grownd,
No arborett with painted blossoms drest
And smelling sweete, but there it might be fownd
To bud out faire, and throwe her sweete smels al arownd.”

Edmund Spenser The Faerie Queene

Canto 6, stanza 12
The Faerie Queene (1589–1596), Book II

Painting

“About a hundred and ninety-four feet away from our house [Gorky was born in Armenia] on the road to the spring, my father had a little garden with a few apple trees which had retired from giving fruit. There was a ground constantly in shade where grew incalculable amounts of wild carrots, and porcupines had made their nests. There was a blue rock half buried in the black earth with a few patches of moss placed here and there like fallen clouds. But from where came all the shadows in constant battle like the lancers of w:Paolo Ucello's painting? This garden was identified as the Garden of Wish Fulfilment and often I had seen my mother and other village women opening their bosoms and taking out their soft breasts in their hands to rub them on the rock. Above this all stood an enormous tree all bleached under the sun, the rain, the cold, and deprived of leaves. This was the Holy Tree. I myself don't know why this tree was holy but I had witnessed many people, whoever did pass by, that would tear voluntarily a strip of their clothes and attach this to the tree. Thus through many years of the same ac, like a veritable parade of banners under the pressure of wind all these personal inscriptions of signatures, very softly to my innocent ear used to give echo to the sh-h—h-sh—h of silver leaves of the poplars.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: posthumous, Astract Expressionist Painting in America, p. 124, (in Gorky Memorial Exhibition, Schwabacher pp. 22,23

Women, People, Spring, Tear

“I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.”

Mark Rothko (1903–1970) American painter

1950's
Source: Interiors, Vol. 110, no 10, May 1951; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 172

Thinking, Painting

“It is from.... Renaissance that individualism in painting dates; and I do not believe there is any use in looking in this direction if we desire to bring into being a fresh mural art, one that shall be at once popular, collective and contemporary.”

Fernand Léger (1881–1955) French painter

Quote from The New Realism goes on, F. Léger, Art Front, February 1937 pp. 7-8
Quotes of Fernand Leger, 1930's

Art, Painting

“New York Mayor Rudy Giuliani is once again expressing outrage at an art exhibit, this time at a painting in which Jesus is depicted as a naked woman. Said the mayor, "This trash is not the sort of thing that I want to look at when I go to the museum with my mistress."”

Tina Fey (1970) American comedian, writer, producer and actress

citation needed

Art, Time, Painting

“Tunis. My head is full of the impressions of last night's walk. Art-Nature-Self. Went to work at once and painted in watercolour in the Arab quarter. Began the synthesis of urban architecture and pictorial architecture. Not yet pure, but quite attractive, somewhat too much of the mood, the enthusiasm of traveling in it-the Self, in a word. Things will no doubt get more objective later, once the intoxication has worn off a bit.”

Paul Klee (1879–1940) German Swiss painter

Diary-note, 7 April 1914; # 926-f; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html The evening of their arrival, Dr. Jaggi took the 3 artists Klee, August Macke and Louis Moilliet on 'a nocturnal walk through the Arab city' Tunis. Klee wrote this note next day. 1911 - 1914, Diary-notes from Tunisia' (1914)

Art, Travel, Mood, Nature

“If you look at Paleolithic cave paintings, you see how people were depicted inside nature, not outside it. It was a kind of dream time. That’s what I’m exploring.”

Gregory Colbert (1960) Canadian photographer

"Peerless on the Pier" in Town & Country (March 2005) http://www.accessmylibrary.com/article-1G1-131688118/peerless-pier-arts-culture.html

People, Dreams, Nature, Time

“Why, the question is often asked of me
Do you choose as subjects for painting
So often death, perishing and the grave?
In order to one day live eternally
One must often submit oneself to death.”

Caspar David Friedrich (1774–1840) Swedish painter

in original language - German: Warum, die Frag' ist oft zu mir ergangen / Wählst du zum Gegenstand der Malerei / So oft den Tod, Vergänglichkeit und Grab? / Um ewig einst zu leben / Muss man sich oft dem Tod ergeben.
Quote c. 1812; from Caspar David Friedrich, William Vaughn; London: Tate Gallery, 1972, p. 16–17
1794 - 1840

Death, Question, Painting

“I should like to paint like an man who has never seen a painting, but this man – myself – lives in a museum.”

Phillip Guston (1913–1980) American artist

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 207
1961 - 1980

Painting

“My paint is like a rocket, which describes its own space. I try to make the impossible possible. What is happening I cannot foresee, it is a surprise. Painting, like passion, is an emotion full of truth and rings a living sound, like the roar coming from the lion's breast.”

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

Karel Appel's excerpt', c. 1953

Truth, Passion, Painting

“There is nothing in his (of Mario Bardi) painting which Sicily cannot explain.”

Leonardo Sciascia (1921–1989) Italian writer

Non c'è niente nella sua pittura che la Sicilia non possa spiegare. "Storia dell'arte in Sicilia: Mario Bardi", volume 2 (1984), Palermo: Edizioni del Sole (ed.) p. 243 " https://books.google.it/books?id=ntfpAAAAMAAJ"(in Italian).

Painting

“Painting is but another word for feeling.”

John Constable (1776–1837) English Romantic painter

Quote from Constable's letter to Rev. John Fisher October 1821
1820s

Feeling, Painting

“Light, colour, love - let me come under your spell. Life can be represented only by a lively kind of painting. There is clarity in passion.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

Love, Life, Light, Passion

“Yesterday I received a letter from my father [ Dutch landscape-painter J. W. Bilders. ] He told me to come at once, to paint the goats in a rather large forest landscape-painting he just finished, which has to be sent away at once [to Saint Petersburg, Russia]. I earn back my travelling [from Leiden to Amsterdam, probably by travel coach] but will loose one day studying in open air. When my goats will succeed, and they are not too stubborn, I'll be back here [in Leiden] tomorrow at one o'clock in the afternoon.”

Gerard Bilders (1838–1865) painter from the Netherlands

Source: 1850's, Vrolijk Versterven' (from Bilders' diary & letters), p. 30 - quote of Bilder's letter to Johannes Kneppelhout, from Leiden, August 1859

Travel, Study, Painting

“My etchings have.... the mistake of being processed as images and to have at the same time the meaning of epigrams. It is the union of pure painting with pure graphics... From now onwards my task will be the division of art and graphics, and the full development of both fields. The pure art has already turned to impressionism and the graphics is going to do it.”

Paul Klee (1879–1940) German Swiss painter

Quote in a letter to his wife, 12 June, 1906; as cited in Paul Klee. Das Frühwerk 1883-1922, p. 50.
1903 - 1910

Art, Time, Painting

“When I was a child, eight or ten years old, I made a solemn promise to God that, when I grew up, I would write him a hymn for the prayer-book. The vow has never been fulfilled. But I have painted a large number of pictures, and there must be more than thirty religious ones. I wonder if they will do instead.”

Emil Nolde (1867–1956) German artist

undated quotes

God, Books, Painting

“I also sold some drawings [he means his watercolors] - the Dutch pieces [he painted in The Netherlands] sell rather well [in Brussels, where he lived then]. People seem to prefer colored drawings here. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Ik heb alweder ook eenige teekeningen [hij bedoelt hiermee zijn aquarellen] verkocht – de Hollandsche gevallen vinden nogal aftrek [in Brussel, waar hij toen woonde]. Men schijnt hier gekleurde teekeningen te prefereren.
In a letter to Jan Weissenbruch, 18 Dec. 1847; in Haagsch Gemeentearchief / Municipal Archive of The Hague; ; as cited by De Bodt, in Halverwege Parijs, Willem Roelofs en de Nederlandse Schilderskolonie in Brussel, Gent, 1995a, in 1995a, pp. 233-35
1840' + 1850's

People, Color, Drawing, Painting

“The idea for this picture came to me one winter's night as I was leaving La Scala. In the foreground there is a snow sweeper with a few couples, men in top hats and elegant ladies. I think that this canvas, which is totally unknown in Italy, is one of the paintings where I best represented the concept that I had the time about my art.”

Carlo Carrà (1881–1966) Italian painter

Source: 1940's, La mia Vita (1945), Carlo Carrà; as quoted in Futurism, ed. Didier Ottinger (2008), p. 154 - Carrà is refering in this quote to his painting 'Uscita dal teatro' ('Leaving the theater'), he made in 1909

Men, Art, Idea, Thinking

“Don't you love it when people in school are like, "I'm a bad test taker?" You mean, you're stupid. Oh, you struggle with that part where we find out what you know? Oh. No, no, I can totally relate. See, because I'm a brilliant painter, minus my God-awful brushstrokes. Oh, how the masterpiece is crystal up here[points to head], but once paint hits canvas, I develop Parkinson's. I apologize if there's a Parkinson's painter in the audience. I assume your best work is in the A. M. Probably gets a bit abstract by noon.”

Daniel Tosh (1975) American stand-up comedian

Happy Thoughts (2011)

Love, God, People, Stupidity

“I try to deal with things that maybe other people haven't thought about, emptiness, making a painting that isn't a painting. For years people have been concerned with what goes on inside the frame. Well maybe there is something going on outside the frame that could be considered an artistic idea.”

Robert Barry (1936) American artist

Robert Barry (1968), cited in: Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972. New York, Praeger, 1973, p. 40. p. xii

People, Idea, Painting

“I paint from my head [about his move from rural Friesland to the city of Amsterdam]. (translation from Dutch: Fons Heijnsbroek, 2018)”

Gerrit Benner (1897–1981) Dutch painter

version in original Dutch (citaat van Gerrit Benner, in het Nederlands:) Schilderen doe ik uit mijn hoofd [over zijn verhuizing van landelijk Friesland naar de stad Amsterdam]. quoted by Hans Redeker (before 1967), in Gerrit Benner; Meulenhoff, Amsterdam, 1967; as cited by Susan van den Berg in 'Benner en Bregman', website 'de Moanne' http://www.demoanne.nl/benner-en-bregman/, 1 Sept. 2008, note xix 1950 - 1980

Painting

“I knew nothing when I first met him. He taught me to see things through his eyes. Dalí was my teacher. He let me use his brushes, his paint and his canvas, so that I could play around while he was painting for hours and hours in the same studio. Surrealism was a good school for me. Listening to Dalí talk was better than going to any art school.”

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

http://www.3d-dali.com/centennial-magazine/e-9-muse.htm, Salvador Dali Centennial Magazine – Amanda Lear, 15 June 2004, 3d-dali.com, 15 July 2018

School, Art, Teachers, Painting

“Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world... The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.”

Robert Motherwell (1915–1991) American artist

Source: 1940s, Beyond the Aesthetics' (1946), pp. 38-39

Life, World, Art, Way

“The bleak and yet so intimate nature of the mountains has had an enormous impact on the painter. It has deepened his love for his subjects and at the same time purged his vision of everything that is secondary. Nothing inessential appears in the paintings, but how delicately every detail is worked out! The creative thought emerges strongly and nakedly from the finished work. Kirchner is now so taken up with entirely new problems that one cannot apply the old criteria to him if one is to do justice to his work. Those who wish to classify him on the strength of his German paintings will be both disappointed and surprised. Far from destroying him, his serious illness has matured him. Besides his work on visible life, creativity stemming solely from the imagination has opened up its vast potential to him – for this the brief span of his life will probably be far from sufficient.”

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

Quote from the 'Preface' of the catalog of Kirchner's Frankfurt exhibition in 1922, (written by Kirchner, about Kirchner under his pseudonym de:Louis de Marsalle); as quoted in the biography-pdf http://www.kirchnermuseum.ch/data/media/downloads/Biography.pdf of the Kirchner museum, Davos 1920's

Love, Life, Justice, Disappointment

“Do you know what I really need to make a well-finished painting? 2 years at Gérome or somebody like him, working in the studio.... because that is the only way to become a good painter. That whole business.. then a small watercolour than a little painting and finally when I have earned so much that I could study, I have become too old and too miserable.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Weet U wat ik nodig heb om een goed afgewerkt schilderij te maken? 2 jaar bij Gérome of zoo iemand op 't atelier te werken.. ..want dat is de enige manier om een goed schilder te worden. Dat gewurm, dan een aquarelletje dan een schilderijtje en eindelijk als ik daardoor zo veel verdiend heb dat ik zou kunnen studeeren ben ik te oud en te beroerd geworden.
In his letter to A.P. van Stolk, nr. 51, c. 1884; RKD-Archive, The Hague; as cited in master-thesis Van Gogh en Breitner in Den Haag, Helewise Berger, University of Utrecht, The Netherlands, p. 29
Breitner responds to accusations from his Maecenas that he refused to learn from well-known Dutch painters how to finish his paintings well. In 1884 already Breitner started in the studio of Cormon in Paris
before 1890

Way, Business, Study, Painting

“Dear Dorothy, my biography is very short [asked for by the MOMA].... I was born in Tiflis, Caucacus, South Russia, October 25th, 1904 and after the usual studies I came to America in 1920. I had been painting steadily since I was seven and continued to do so during my three and a half years at Brown University where I studied engineering. In 1925 I came to New York and taught at the Grand Central Art School for seven years. I have been living and working ever since in New York.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), p. 163: in a letter to Dorothy Miller, [at the staff on MOMA, New York], 26 June 1942

School, Art, Study, Universe

“There's no indication or hint about the material world in my painting. No, I don't paint about the world. Everybody else is painting about the world. That's enough.”

Agnes Martin (1912–2004) American artist

after 2000, Agnes Martin: Between the Lines', 2002

World, Painting

“There are millions of artists around the world, but only one who paints with this particular appendage.”

Pricasso (1949) Australian painter

[Whitsunday Times staff, Comedy night a week away, Whitsunday Times, Airlie Beach, Australia, 3 May 2012, APN Newspapers Pty Ltd.]
About

World, Painting

“There are great many Rembrandts here [in Paris]. Even if they are yellow with varnish, I can still learn so much from them, the wrinkled intricacy of things, life itself. There is a little thing here by him.... It is of a women in bed, nude. But the way it's painted, the way the cushions are painted, their shapes, with all those details of lacework, the whole thing is bewitching.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 18 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 297
1900 - 1905

Life, Women, Way, Learning

“.. The Night-watch (large and famous painting of Dutch 17th century painter Rembrandt.... the grandiose - I don't say it in bad part - grows tiresome after a while. There are mountains like that; when you stand before them you shout Nom de Dieu, but for every day a simple little hill does well enough. Listen Monsieur Vollard, if the 'Raft of the Medusa' of Théodore Géricault hung in my bedroom, it would make me sick.”

Paul Cézanne (1839–1906) French painter

Quote from 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. 67
Quotes of Paul Cezanne, 1880s - 1890s

Mountain, Parting, Painting

“It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.”

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

Color, Feeling, Light, Appearance

“The first era of the Upper Paleolithic, the Aurignacian, is notable for several reasons, one of which is the absence of painted caves. …One of the most evocative pieces from this era, from the Abri Blanchard in southwestern France, is a flute. Music must have been an integral part of Upper Paleolithic life too.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Life, Music, Parting, Painting

“I saw Guillaumin. We went to look at my two latest paintings which were bought by Durand. All he said was 'there's no firmness in the foreground'. It was evening, we were seeing the paintings by gas-light, which neutralized the orange tones. As Seurat says, what they [the Impressionists]] look for is thick impasto; but at Clauzet's I saw a Guillaumin, also in the evening, and it looked made of tar, so much shellac was used at the base of this painting, which in my view is really old stuff; it must be admitted that he made an effort to tighten the design but then the harmonies are insignificant and lack logic - there is no drawing, there is a flurry of colors, but no modeling; it is one step from [w: Jules Dupré|Jules Dupreé]] - modernized.”

Camille Pissarro (1830–1903) French painter

Quote of Pissarro, in a letter, Paris, 6 December 1886, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 84
1880's

Color, Effort, Light, Drawing

“And today many artists like myself refuse to be involved in some ideas. In painting – for me – no fooling-the-eye, no window-hole-in-the wall, no illusions, no representations, no associations, no distortions, no paint-caricaturing, no dream pictures of dripping, no delirium trimmings, no sadism or slashing, no therapy, no kicking-the-effigy, no clowning, no acrobatics, no heroics, no self-pity, no guilt.... no abstraction of everything, no nonsense, no involvements, no confusing painting with everything that is no painting.”

Ad Reinhardt (1913–1967) American painter

1940 - 1955
Source: Contemporary American Painting, University of Illinois, Urbana 1952, p. 226-227

Dreams, Fools, Idea, Painting

“Its decadence, satiety, and languor [of Roman civilization] interested me. And I kept looking and returning to their wall paintings with their veiled melancholy and their elegant plasticity. I admired the way they used their geology in their art — the sense of mineral, clay. rock, marble, and stone.”

William Baziotes (1912–1963) American painter

from his letter to Alfred H. Barr, Jr. 6 November, 1955; as cited in the text of 'The Baziotes Memorial Exhibition' and its accompanying catalogue by Lawrence Alloway; Solomon R. Guggenheim Museum 1965, p. 11
1950s

Art, Way, Sense, Painting

“I don’t know if I've got close enough [in two recent paintings he made] to what I was really trying to achieve. But at least I've tried, I've made the attempt. I've done what I could. I've gone as far as my powers permitted.”

Bram van Velde (1895–1981) Dutch painter

short quotes, 2 November 1970; p. 81
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Painting

“In 1973 I suddenly came into major private problems. I was completely thrown back on myself. Then I found those trousers between the old stuff. A worn-out, eighty times repaired, filthy pair of pants of a milker. I saw myself in it, it reflected the state of my soul. Then I took it with me and painted it [title: Pants of a cow milker]. Moreover because other because people recognized themselves in it, this has become my salvation. I found back my identity through it. As a matter of fact a self-portrait.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: In 1973 raakte ik plotseling in grote privéproblemen. Ik was helemaal op mezelf teruggeworpen. Toen vond ik tussen de rommel die broek. Een afgetobde, tachtig keer verstelde, smerige melkersbroek. Ik zag mijzelf daarin, hij weerspiegelde de toestand van mijn ziel. Toen heb ik hem meegenomen en geschilderd [titel: Broek van een koemelker]. Ook omdat andere mensen zich erin herkenden, is het mijn redding geweest. Ik heb er mijn identiteit door teruggevonden. Eigenlijk een zelfportret.
p 60
Jopie Huisman', 1981

People, Soul, Problem, Time